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 United States and from Milan.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Manila and Woodstock.
I'm losing my edge to the art-school Tokyo 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 Big Star practice in a loft in Memphis.
I was working on the snare 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 Eric Copeland to the crunk kids.
I played it at Trash.
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 Jawbox. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Amon Düül II 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
These Immortal Souls,
Siouxsie and the Banshees,
The Monks,
Rahsaan Roland Kirk,
Shoche,
Traffic Nightmare,
Bad Manners,
Dave Gahan,
The Divine Comedy,
KRS-One,
Terror Squad Feat. Camron,
Liaisons Dangereuses,
Los Fastidios,
Barrington Levy,
Camberwell Now,
Desert Stars,
Absolute Body Control,
Rowland S Howard / Lydia Lunch,
Crooked Eye,
Roger Hodgson,
Lalann,
The Martian,
E-Dancer,
Avey Tare,
The Human League,
the Association,
Glenn Branca,
Monolake,
Gang Green,
Jerry's Kids,
Kevin Saunderson,
Erasure,
Half Japanese,
The Seeds,
Anakelly,
Bob Dylan,
Arthur Verocai,
Scientists,
Girls At Our Best!,
Chris Corsano,
Angels of Light & Akron/Family,
Kango’s Stein Massive,
The Doobie Brothers,
Essential Logic,
The Names,
T.S.O.L.,
Sun City Girls,
Black Bananas,
The Dead C,
Crispian St. Peters,
Monks,
Pierre Henry,
Josef K,
Aural Exciters,
Gil Scott-Heron and Jamie xx,
The Real Kids,
The Moleskins,
Black Pus,
Average White Band,
Ossler,
In Retrospect,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.