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 Jordan and from Bremen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Salvador and Delhi.
I'm losing my edge to the art-school Sao Paulo 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 808 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 Sex Pistols to the rock kids.
I played it at the Crocodile.
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 Gap Band. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every the Normal 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Sarah Menescal,
The Smoke,
The Selecter,
Jerry Gold Smith,
Eve St. Jones,
Unwound,
Vainqueur,
Boz Scaggs,
Little Man,
The Sound,
Lyres,
Alice Coltrane,
Moebius,
The Blues Magoos,
Television,
The Red Krayola,
Alton Ellis,
Supertramp,
Mary Jane Girls,
Sunsets and Hearts,
John Holt,
Yazoo,
Bizarre Inc.,
The Chocolate Watch Band,
Oppenheimer Analysis,
Gong,
Rowland S Howard / Lydia Lunch,
Quantec,
Television Personalities,
Maurizio,
Grey Daturas,
Au Pairs,
Traffic Nightmare,
Babytalk,
Pussy Galore,
the Association,
Pagans,
Avey Tare & Kría Brekkan,
Jesper Dahlbäck,
Donald Byrd,
The Mighty Diamonds,
48th St. Collective,
Jandek,
Outsiders,
Isaac Hayes,
Kango’s Stein Massive,
Jesper Dahlback,
Buzzcocks,
Funkadelic,
The Mummies,
Rapeman,
Nils Olav,
Das Ding,
Eden Ahbez,
New Order,
Orchestral Manoeuvres in the Dark,
Robert Hood,
Letta Mbulu,
Siglo XX,
R.M.O.,
Captain Beefheart & His Magic Band,
Chris Corsano,
Neil Young,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.