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 Uzbekistan and from Sao Paulo.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Lyon.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when Holger Czukay 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 Danielle Patucci to the funk 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 The Black Dice. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Ultravox 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Nico,
Avey Tare's Slasher Flicks,
Manfred Mann's Earth Band,
Eli Mardock,
PIL,
Black Sheep,
Organ,
Absolute Body Control,
The Divine Comedy,
Gang of Four,
U.S. Maple,
The Mummies,
Soulsonic Force,
Scion,
Flash Fearless,
Boogie Down Productions,
Amazonics,
New Order,
Mr. Review,
Outsiders,
AZ,
The Sound,
The Stooges,
Deakin,
Lindisfarne,
Aswad,
10cc,
The Red Krayola,
Circle Jerks,
Ponytail,
Piero Umiliani,
Glambeats Corp.,
Flamin' Groovies,
Matthew Bourne,
The Raincoats,
Laurel Aitken,
Country Teasers,
The Flesh Eaters,
Cameo,
New York Dolls,
Youth Brigade,
The Smoke,
Matthew Halsall,
Gang Starr,
Moebius,
Marmalade,
The Young Rascals,
Stockholm Monsters,
China Crisis,
Echo & the Bunnymen,
Pet Shop Boys,
The Standells,
Grey Daturas,
Agent Orange,
The Men They Couldn't Hang,
Pantytec,
Max Romeo,
Terrestrial Tones,
Negative Approach,
Little Man,
48th St. Collective,
London Community Gospel Choir,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.