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 Seychelles and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Milan 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Tom Boy to the dance 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 Fluxion. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
Delon & Dalcan,
Sound Behaviour,
Japan,
The Index,
Frankie Knuckles,
Bad Manners,
Scott Walker,
The Happenings,
The Blackbyrds,
The Cure,
Los Fastidios,
Urselle,
Ituana,
The Neon Judgement,
Al Stewart,
Tim Buckley,
Bobbi Humphrey,
Robert Hood,
Liliput,
Ronan,
Beasts of Bourbon,
Zero Boys,
Bootsy Collins,
Nirvana,
Infiniti,
Ash Ra Tempel,
Harmonia,
Bobby Byrd,
The Monks,
Mission of Burma,
Rufus Thomas,
DeepChord presents Echospace,
Ten City,
Pharaoh Sanders and the Fire Engines,
the Slits,
Magazine,
Alison Limerick,
The Mighty Diamonds,
Maurizio,
Janne Schatter,
Severed Heads,
ABC,
Louis and Bebe Barron,
The West Coast Pop Art Experimental Band,
Colin Newman,
Terry Callier,
Bang On A Can,
Ralphi Rosario,
Deutsch Amerikanische Freundschaft,
Rites of Spring,
Goldenarms,
New Order,
June of 44,
Khruangbin,
Monolake,
Lyres,
The Smoke,
The Walker Brothers,
Hot Snakes,
Jandek,
The Selecter,
Technova, Technova, Technova, Technova.
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.