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 Sudan and from Paris.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Negative Approach to the rock kids.
I played it at CBGB's.
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 Kinks. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Cameo 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 '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Yaz,
The Invisible,
Susan Cadogan,
The Sound,
Terrestrial Tones,
Joensuu 1685,
Bush Tetras,
Cal Tjader,
Oblivians,
Morten Harket,
Skaos,
Johnny Clarke,
Nick Cave & The Bad Seeds,
Country Joe & The Fish,
John Holt,
Main Source,
Skarface,
The Tremeloes,
Mission of Burma,
Youth Brigade,
Teenage Jesus and the Jerks,
Derrick May,
Dark Day,
Camberwell Now,
Lou Reed & Metallica,
Peter and Kerry,
Ultra Naté,
The Smiths,
The Pretty Things,
The Wake,
Qualms,
Dead Boys,
Average White Band,
Metal Thangz,
Camron Feat. Memphis Bleek And Beenie Seigel,
Leonard Cohen,
Essential Logic,
Ultravox,
Trumans Water,
Sight & Sound,
Aaron Thompson,
Bob Dylan,
Faust,
Fear,
Ralphi Rosario,
The Motions,
The Monks,
Althea and Donna,
Brand Nubian,
The Cramps,
Man Parrish,
Massinfluence,
Pulsallama,
Bauhaus,
The Golliwogs,
Scratch Acid,
X-101,
Dorothy Ashby,
Monks,
Piero Umiliani,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.