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 Mexico and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1962 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Edmonton 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 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 Brothers Johnson to the funk kids.
I played it at Trash.
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 Public Enemy. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Wally Richardson,
Grauzone,
Radiopuhelimet,
Ossler,
Black Sheep,
The Grass Roots,
DJ Style,
The Gories,
The Gap Band,
Alison Limerick,
David Axelrod,
Notorious BIG live in Amsterdam,
Das Ding,
The Velvet Underground,
a-ha,
The Index,
Accadde A,
Rod Modell,
Marc Romboy vs. Booka Shade,
Deakin,
The United States of America,
The Detroit Cobras,
Derrick May,
Guru Guru,
Ken Boothe,
Notorious Big And Bone Thugs,
Minor Threat,
Tres Demented,
The Wake,
Johnny Clarke,
Gil Scott-Heron and Jamie xx,
Lonnie Liston Smith,
James Chance & The Contortions,
Todd Rundgren,
Chrome,
The Count Five,
the Human League,
Electric Prunes,
Ash Ra Tempel,
The Electric Prunes,
Shuggie Otis,
Cecil Taylor,
New Age Steppers,
Swans,
World's Most,
In Retrospect,
Moebius,
The Happenings,
Jerry Gold Smith,
MDC,
The Neon Judgement,
Brick,
The Skatalites,
Crispy Ambulance,
Junior Murvin,
Kayak,
The Pop Group,
Tom Boy,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.