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 Turkmenistan and from Cairo.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Paris and Madrid.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Pulsallama to the jazz 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 Al Stewart. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Joe Smooth,
Wolf Eyes,
Ronan,
Rhythm & Sound,
John Coltrane,
Second Layer,
Lyres,
Easy Going,
Lalo Schifrin,
Lou Reed & John Cale,
Slick Rick,
Boredoms,
Accadde A,
Charles Mingus,
48th St. Collective,
the Slits,
Byron Stingily,
Peter & Gordon,
Blake Baxter,
Anakelly,
Dorothy Ashby,
Agent Orange,
Cal Tjader,
The Shadows of Knight,
Boogie Down Productions,
Nik Kershaw,
Neil Young,
Niagra,
Reagan Youth,
PIL,
The Real Kids,
X-101,
Super Lover Cee & Casanova Rud,
Visage,
Girls At Our Best!,
JFA,
Swans,
Basic Channel,
Fad Gadget,
The United States of America,
Faust,
Red Lorry Yellow Lorry,
Black Sheep,
Fugazi,
Soul Sonic Force,
Con Funk Shun,
Erasure,
Supertramp,
Gary Puckett & The Union Gap,
Juan Atkins,
Scientists,
The Electric Prunes,
Bang on a Can All-Stars,
Lightning Bolt,
Groovy Waters,
The Toasters,
Minutemen,
Sällskapet,
The Golliwogs,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.