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 Marshall Islands and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Cosmic Jokers to the rap kids.
I played it at the Astoria.
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 Tim Buckley. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
LL Cool J,
Rekid,
The Beau Brummels,
Hardrive,
Freddie Wadling,
Junior Murvin,
Ultravox,
Tommy Roe,
Bootsy's Rubber Band,
Byron Stingily,
X-102,
Letta Mbulu,
Richard Hell and the Voidoids,
Bad Manners,
Max Romeo,
Jeff Mills,
Young Marble Giants,
Warren Ellis,
Oppenheimer Analysis,
Derrick Morgan,
Quadrant,
10cc,
Cabaret Voltaire,
Liaisons Dangereuses,
B.T. Express,
Ohio Players,
Graham Central Station,
Bizarre Inc.,
The Velvet Underground,
Barbara Tucker,
Roxy Music,
New York Dolls,
The Electric Prunes,
Soul Sonic Force,
Juan Atkins,
Severed Heads,
Art Ensemble Of Chicago,
The Residents,
Slick Rick,
Johnny Clarke,
Fat Boys,
Eric Dolphy,
The Divine Comedy,
The Remains,
Grey Daturas,
The Names,
Strawberry Alarm Clock,
The Alarm Clocks,
Lou Reed & Metallica,
ABBA,
Audionom,
Kings Of Tomorrow,
The New Christs,
June Days,
Susan Cadogan,
Thinking Fellers Union Local 282,
Babytalk,
Aswad,
Visage,
Neil Young & Crazy Horse,
Roger Hodgson,
The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor.
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.