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 Germany and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Philadelphia.
I'm losing my edge to the art-school Manila 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 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 Scientists to the electroclash kids.
I played it at the 40 Watt.
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 Dawn Penn. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Kevin Saunderson,
Mars,
Boz Scaggs,
Bang On A Can,
Minny Pops,
Susan Cadogan,
Heaven 17,
The Detroit Cobras,
Althea and Donna,
Electric Light Orchestra,
Kauko Röyhkä ja Narttu,
Hoover,
Rakim,
Cheater Slicks,
The Smiths,
Ken Boothe,
The Shadows of Knight,
Scan 7,
Grandmaster Flash,
Mo-Dettes,
The New Christs,
The Index,
Sound Behaviour,
The Gories,
Reuben Wilson,
Funkadelic,
Public Image Ltd.,
Popol Vuh,
Black Sheep,
Josef K,
London Community Gospel Choir,
Surgeon,
Smog,
Japan,
Yellowson,
Quantec,
Arab on Radar,
Lou Christie,
The Gun Club,
Charles Mingus,
Flipper,
The Standells,
James Chance & The Contortions,
Big Daddy Kane,
Cameo,
Larry & the Blue Notes,
Spoonie Gee,
Reagan Youth,
The Residents,
Ultimate Spinach,
Jandek,
Magazine,
Suburban Knight,
Y Pants,
Fear,
Stereo Dub,
Kayak,
Moby Grape,
Junior Murvin,
Joensuu 1685,
The Misunderstood,
Bronski Beat,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.