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 Papua New Guinea and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Lille.
I'm losing my edge to the art-school Bologna 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Eddi Front to the crunk kids.
I played it at the Troubador.
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 Associates. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
K-Klass,
The Selecter,
Skaos,
The Blackbyrds,
DeepChord presents Echospace,
X-101,
Lou Reed & Metallica,
The Fire Engines,
Rosa Yemen,
John Holt,
Suicide,
Technova,
DNA,
Stiv Bators,
Whodini,
These Immortal Souls,
Oppenheimer Analysis,
Barbara Tucker,
Girls At Our Best!,
Sister Nancy,
Pulsallama,
Gang Gang Dance,
Black Pus,
The J.B.'s,
Faust,
Barclay James Harvest,
Clear Light,
Mad Mike,
Sly & The Family Stone,
Ludus,
Thompson Twins,
Section 25,
Make Up,
Ice-T,
Yellowson,
The Techniques,
Robert Görl,
Ituana,
Eric B and Rakim,
Drexciya,
Duran Duran,
Essential Logic,
Orchestral Manoeuvres in the Dark,
Brass Construction,
Rhythim Is Rhythim,
Black Sheep,
Half Japanese,
Shoche,
Skriet,
Easy Going,
Fluxion,
A Certain Ratio,
Mr. Review,
Mandrill,
Pierre Henry,
Sight & Sound,
The Standells,
Freddie Wadling,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.