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 Grenada and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
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 organ 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 Ultra Naté to the crunk 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 Absolute Body Control. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Metal Thangz,
Fort Wilson Riot,
Neil Young & Crazy Horse,
Excepter,
Technova,
A Certain Ratio,
Kevin Saunderson,
Young Marble Giants,
The Neon Judgement,
Stockholm Monsters,
Ornette Coleman,
June Days,
Fat Boys,
Letta Mbulu,
The Smoke,
Intrusion,
Graham Central Station,
Leonard Cohen,
H. Thieme,
Eric Dolphy,
Michelle Simonal,
the Normal,
Popol Vuh,
Nick Fraelich,
Anthony Braxton,
Babytalk,
Interpol,
Magazine,
Danielle Patucci,
The Electric Prunes,
The Evens,
The Count Five,
DJ Style,
The Shadows of Knight,
Eyeless In Gaza,
UT,
Marcia Griffiths,
Terry Callier,
The West Coast Pop Art Experimental Band,
Eurythmics,
Whodini,
Quadrant,
The Moleskins,
Slick Rick,
Ronan,
Lyres,
Audionom,
the Association,
John Foxx,
Outsiders,
Monolake,
Blossom Toes,
Lower 48,
Swell Maps,
Soft Cell,
The Grass Roots,
R.M.O.,
Wasted Youth,
Mary Jane Girls,
Bronski Beat,
The Velvet Underground,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.