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 San Marino and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Beijing and Spokane.
I'm losing my edge to the art-school Philadelphia 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 The Wake to the jazz kids.
I played it at the Troubador.
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 Eddi Front. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Babytalk 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Index,
The Names,
Anakelly,
Erykah Badu,
Jesper Dahlbäck,
The Doobie Brothers,
UT,
Japan,
Piero Umiliani,
Richard Hell and the Voidoids,
The Fire Engines,
Radio Birdman,
Rosa Yemen,
The Detroit Cobras,
It's A Beautiful Day,
Rowland S Howard / Lydia Lunch,
The Invisible,
James White and The Blacks,
Electric Light Orchestra,
Fugazi,
Susan Cadogan,
Hasil Adkins,
Jawbox,
The J.B.'s,
The Music Machine,
Nick Cave & The Bad Seeds,
The Wake,
Pet Shop Boys,
June of 44,
Mandrill,
Arab on Radar,
Sister Nancy,
Janne Schatter,
Arcadia,
Slick Rick,
June Days,
Bob Dylan,
Peter Gordon & Love of Life Orchestra,
Bill Near,
La Düsseldorf,
Average White Band,
Kaleidoscope,
Radiohead,
The Neon Judgement,
Ash Ra Tempel,
Barrington Levy,
Ultra Naté,
Duran Duran,
The Smiths,
Rhythim Is Rhythim,
The Walker Brothers,
Simply Red,
Stockholm Monsters,
Jerry's Kids,
Girls At Our Best!,
Traffic Nightmare,
China Crisis,
Glambeats Corp.,
Johnny Osbourne,
D'Angelo,
Robert Görl,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.