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 Macedonia and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1978.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Spokane 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 oboe sounds with much patience.
I was there when Donald Fagen 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 DNA to the grunge kids.
I played it at the Roxy.
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 Tropical Tobacco. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Swans 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 '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Barry Ungar,
Suburban Knight,
Michelle Simonal,
Kango’s Stein Massive,
Peter & Gordon,
Lou Reed & John Cale,
The Gun Club,
L. Decosne,
Fluxion,
Ohio Players,
The Techniques,
Crime,
Motorama,
Flipper,
kango's stein massive,
Sticky Fingaz feat. Raekwon,
Eric B and Rakim,
Warren Ellis,
Maleditus Sound,
Rotary Connection,
Lyres,
Malaria!,
David Bowie,
Arab on Radar,
The Gladiators,
Gregory Isaacs,
Basic Channel,
John Lydon,
Cheater Slicks,
Matthew Bourne,
Judy Mowatt,
The Gap Band,
Gang Green,
The Slits,
The Music Machine,
Bang On A Can,
Tommy Roe,
K-Klass,
The Alarm Clocks,
Sarah Menescal,
The Toasters,
One Last Wish,
Bob Dylan,
Newcleus,
Black Flag,
Major Organ And The Adding Machine,
48th St. Collective,
Public Image Ltd.,
Boz Scaggs,
The Selecter,
The Smoke,
Unwound,
Gerry Rafferty,
Donny Hathaway,
Danielle Patucci,
10cc,
Marcia Griffiths,
The Tremeloes,
Ash Ra Tempel,
Ajijia Myrayebe,
Loose Ends,
Black Bananas,
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.