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 St Lucia and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Bremen 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Eve St. Jones to the punk 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 Sad Lovers and Giants. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Joy Division 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Can,
Lou Reed & John Cale,
Strawberry Alarm Clock,
Theoretical Girls,
The Dead C,
Curtis Mayfield,
Max Romeo,
Chrome,
Deutsch Amerikanische Freundschaft,
Fatback Band,
John Holt,
ABC,
Rotary Connection,
Iggy Pop,
Sun City Girls,
Bronski Beat,
Teenage Jesus and the Jerks,
Cluster,
Qualms,
Connie Case,
ABBA,
Bush Tetras,
Steve Hackett,
Eli Mardock,
Lebanon Hanover,
The Golliwogs,
Model 500,
Sunsets and Hearts,
Bauhaus,
Rhythim Is Rhythim,
June Days,
The Cosmic Jokers,
Lalann,
Camouflage,
The American Breed,
Amon Düül II,
Traffic Nightmare,
Crash Course in Science,
Arcadia,
Man Eating Sloth,
Eurythmics,
Frankie Knuckles,
Sex Pistols,
Davy DMX,
Crispian St. Peters,
The Dave Clark Five,
Smog,
X-101,
Con Funk Shun,
John Cale,
Magma,
N.O.R.E. Featuring Pharrell,
Surgeon,
Mandrill,
Country Joe & The Fish,
Nils Olav,
Dual Sessions,
Bobby Womack,
One Last Wish,
Skriet,
The Move, The Move, The Move, The Move.
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.