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 Equatorial Guinea and from Winnipeg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Lille 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 mellotron sounds with much patience.
I was there when David Bowie 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 Delon & Dalcan to the rap kids.
I played it at the Hacienda.
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 Joey Negro. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Marvin Gaye 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection 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?
Shuggie Otis,
ABC,
The Slits,
Lou Christie,
Tommy Roe,
Monks,
Terry Callier,
Public Enemy,
Michelle Simonal,
Parry Music,
The United States of America,
Art Ensemble Of Chicago,
Robert Hood,
Joe Finger,
Deepchord,
The Velvet Underground,
Brick,
Ludus,
Bob Dylan,
Joy Division,
The Sisters of Mercy,
Roy Ayers Ubiquity,
Blancmange,
Ash Ra Tempel,
June Days,
X-102,
Altered Images,
Section 25,
Minutemen,
Cheater Slicks,
Second Layer,
Rites of Spring,
Man Parrish,
Eden Ahbez,
the Normal,
Avey Tare,
In Retrospect,
Althea and Donna,
Vainqueur,
Arab on Radar,
Public Image Ltd.,
Talk Talk,
Crispian St. Peters,
Patti Smith,
Jerry Gold Smith,
Arcadia,
Rekid,
The Gladiators,
Mark Hollis,
F. McDonald,
Gregory Isaacs,
Ultimate Spinach,
Mandrill,
Magma,
Funkadelic,
FM Einheit,
T.S.O.L.,
The Fortunes,
Scott Walker,
Wings,
Faust,
The American Breed,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.