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 Luxembourg and from Edmonton.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1976.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Houston 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 sitar 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 Jerry Gold Smith to the dance kids.
I played it at Cafe Wha.
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 E-Dancer. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Marshall Jefferson 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
DNA,
Girls At Our Best!,
Roy Ayers,
Marine Girls,
London Community Gospel Choir,
Inner City,
World's Most,
Brothers Johnson,
Pantytec,
Camouflage,
Gang Gang Dance,
Patti Smith,
kango's stein massive,
Boogie Down Productions,
The Trojans,
Flash Fearless,
The Evens,
Archie Shepp,
Radiopuhelimet,
The Invisible,
Tres Demented,
the Slits,
Sly & The Family Stone,
Suburban Knight,
Public Enemy,
Porter Ricks,
The Slackers,
Derrick Morgan,
La Düsseldorf,
Louis and Bebe Barron,
Avey Tare & Kría Brekkan,
Ten City,
Niagra,
X-101,
Crispian St. Peters,
Albert Ayler,
Skriet,
X-102,
Sister Nancy,
D'Angelo,
Babytalk,
Gabor Szabo,
Little Man,
The Fuzztones,
The Fugs,
Joyce Sims,
LL Cool J,
Motorama,
Jerry's Kids,
Amon Düül,
Dead Boys,
The Raincoats,
Visage,
E-Dancer,
UT,
Nils Olav,
Y Pants,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.