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 Sierra Leone and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1975.
I'm losing my edge.
To all the kids in London and Calgary.
I'm losing my edge to the art-school Salvador 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 synthesizer 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 Jacques Brel to the punk 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 Patti Smith. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Charles Mingus,
Heavy D & The Boyz,
Echospace,
The Slits,
Siouxsie and the Banshees,
Circle Jerks,
The Peanut Butter Conspiracy,
Neil Young & Crazy Horse,
LL Cool J,
The Fall,
Urselle,
the Sonics,
Lafayette Afro Rock Band,
Thompson Twins,
Nirvana,
Stereo Dub,
Godley & Creme,
Section 25,
Camouflage,
the Normal,
The Gun Club,
Susan Cadogan,
The Stooges,
Faraquet,
The J.B.'s,
Ultra Naté,
DJ Style,
The Durutti Column,
The Saints,
John Cale,
Bizarre Inc.,
Mo-Dettes,
Angels of Light & Akron/Family,
Sarah Menescal,
Fatback Band,
Lungfish,
Kaleidoscope,
Pole,
Depeche Mode,
Vladislav Delay,
Metal Thangz,
Lou Reed,
X-102,
the Association,
David McCallum,
Con Funk Shun,
Slick Rick,
Camron Feat. Jay Z And Juelz,
The Mojo Men,
Pet Shop Boys,
The Martian,
Pulsallama,
The American Breed,
Dawn Penn,
Don Cherry,
Roxy Music,
Erasure,
Teenage Jesus and the Jerks,
Gerry Rafferty,
Aaron Thompson,
Gian Franco Pienzio,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.