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 Azerbaijan and from Bremen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1970.
I'm losing my edge.
To all the kids in New York and New York.
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 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 Be Bop Deluxe to the punk kids.
I played it at the Hacienda.
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 Normal. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Circle Jerks,
The Index,
Hardrive,
T. Rex,
Nico,
Morten Harket,
Jawbox,
Scratch Acid,
Severed Heads,
Soul II Soul,
the Bar-Kays,
Thee Headcoats,
The Red Krayola,
Roxette,
Gil Scott-Heron and Jamie xx,
B.T. Express,
Cluster,
Toni Rubio,
Crispian St. Peters,
The Fall,
Lucky Dragons,
De La Soul & Jungle Brothers,
Rakim,
The Kinks,
Maleditus Sound,
UT,
Visage,
Freddie Wadling,
The Mummies,
Ronan,
Black Moon,
Yusef Lateef,
Pantaleimon,
Drive Like Jehu,
Janne Schatter,
Tom Boy,
Eurythmics,
Audionom,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gil Scott-Heron & Brian Jackson,
Boogie Down Productions,
The Fire Engines,
Bad Manners,
Stetsasonic,
Lalo Schifrin,
Banda Bassotti,
Dawn Penn,
Marmalade,
Scrapy,
E-Dancer,
L. Decosne,
Major Organ And The Adding Machine,
JFA,
Magazine,
The Pop Group,
Harry Pussy,
Pulsallama,
Byron Stingily,
DeepChord presents Echospace,
The Invisible,
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.