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 Israel and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Taipei 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 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 Orchestral Manoeuvres in the Dark to the punk kids.
I played it at the Spitz.
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 Gichy Dan. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Malaria!,
Nils Olav,
Oppenheimer Analysis,
The Grass Roots,
Marcia Griffiths,
John Coltrane,
Terror Squad Feat. Camron,
Sällskapet,
The Saints,
Public Image Ltd.,
Lower 48,
The Music Machine,
Nirvana,
Absolute Body Control,
Second Layer,
Boz Scaggs,
The Real Kids,
Theoretical Girls,
D'Angelo,
Visage,
Kerrie Biddell,
Deutsch Amerikanische Freundschaft,
Angry Samoans,
Roxy Music,
E-Dancer,
the Association,
Tropical Tobacco,
The Alarm Clocks,
Young Marble Giants,
X-102,
The Misunderstood,
Ludus,
Sunsets and Hearts,
Minor Threat,
Sex Pistols,
Rahsaan Roland Kirk,
Joe Smooth,
The Vogues,
Rhythim Is Rhythim,
Unwound,
In Retrospect,
The Sonics,
Sam Rivers,
Bad Manners,
Inner City,
Glambeats Corp.,
Mad Mike,
Eurythmics,
Kenny Larkin,
The Moleskins,
Thompson Twins,
PIL,
Q65,
Idris Muhammad,
Excepter,
Barclay James Harvest,
Newcleus,
Cecil Taylor,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.