Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Germany and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Milan.
I'm losing my edge to the art-school Shanghai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the sitar sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Birthday Party to the grime kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Gap Band. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Eyeless In Gaza,
Roy Ayers,
Radio Birdman,
Radiopuhelimet,
Gil Scott-Heron and Jamie xx,
The Jesus and Mary Chain,
Terry Callier,
Moss Icon,
Manfred Mann's Earth Band,
Underground Resistance,
Cabaret Voltaire,
The Gladiators,
The J.B.'s,
Ronan,
Lyres,
the Normal,
The Modern Lovers,
Rhythm & Sound,
The Motions,
Janne Schatter,
Stereo Dub,
Erasure,
Nation of Ulysses,
Pagans,
Sunsets and Hearts,
Visage,
It's A Beautiful Day,
Jandek,
Pere Ubu,
Bill Wells,
Judy Mowatt,
Soft Cell,
Joyce Sims,
X-102,
Kool G Rap & DJ Polo,
The Young Rascals,
Sam Rivers,
JFA,
The Shadows of Knight,
Al Stewart,
Popol Vuh,
Scientists,
Rod Modell,
The Stooges,
The Mummies,
Cheater Slicks,
Sun Ra,
Unwound,
Pierre Henry,
Scrapy,
Lower 48,
8 Eyed Spy,
Teenage Jesus and the Jerks,
Beasts of Bourbon,
Juan Atkins,
Maurizio,
Bizarre Inc.,
Eden Ahbez,
Marc Almond,
UT,
Justin Hinds & The Dominoes,
Faraquet,
Spandau Ballet,
Ultravox, Ultravox, Ultravox, Ultravox.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.