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 Equatorial Guinea and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and New York.
I'm losing my edge to the art-school Houston 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 clarinet 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 Cluster to the jazz kids.
I played it at CBGB's.
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 Smoke. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
The Velvet Underground,
The Fugs,
Michelle Simonal,
Max Romeo,
The Toasters,
Pulsallama,
Godley & Creme,
Eyeless In Gaza,
Electric Light Orchestra,
Cheater Slicks,
Flamin' Groovies,
Swans,
Siouxsie and the Banshees,
Camron Feat. Memphis Bleek And Beenie Seigel,
Traffic Nightmare,
The Gap Band,
Mars,
Pharaoh Sanders and the Fire Engines,
Radio Birdman,
Grey Daturas,
Al Stewart,
Idris Muhammad,
Surgeon,
Deakin,
The Raincoats,
Young Marble Giants,
Grandmaster Flash,
Inner City,
The Barracudas,
Toni Rubio,
This Heat,
Audionom,
The Young Rascals,
Patti Smith,
Juan Atkins,
Roy Ayers,
The Saints,
Todd Rundgren,
John Holt,
Kauko Röyhkä ja Narttu,
The Selecter,
the Slits,
The West Coast Pop Art Experimental Band,
Faraquet,
Vladislav Delay,
Nas,
Visionaries,LMNO, T- Love & Iriscience,
Fifty Foot Hose,
The Music Machine,
Wighnomy Brothers & Robag Wruhme,
Janne Schatter,
Pere Ubu,
Kerrie Biddell,
Lindisfarne,
Flash Fearless,
Jeff Mills,
Maleditus Sound,
Lightning Bolt,
Lalo Schifrin,
LL Cool J,
Selector Dub Narcotic,
Guru Guru,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.