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 Turkmenistan and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Cairo and Cairo.
I'm losing my edge to the art-school Tehran 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 the Association to the grime kids.
I played it at the Astoria.
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 Sight & Sound. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Louis and Bebe Barron,
The Smoke,
Ken Boothe,
The Golliwogs,
Dead Boys,
Tom Boy,
Yusef Lateef,
The Durutti Column,
Jacob Miller,
The Monks,
The Slits,
The Index,
The Cosmic Jokers,
Wire,
Delta 5,
Monolake,
Simply Red,
Isaac Hayes,
Gang Starr,
The Seeds,
Strawberry Alarm Clock,
Jeff Lynne,
The United States of America,
Circle Jerks,
Gichy Dan,
Oneida,
Porter Ricks,
Tommy Roe,
Massinfluence,
Black Bananas,
Scientists,
Stiv Bators,
Gang Green,
The Searchers,
Flipper,
The Cure,
The Slackers,
Vaughan Mason & Crew,
Todd Terry,
Yazoo,
Brothers Johnson,
Albert Ayler,
Heavy D & The Boyz,
Bobby Sherman,
Sixth Finger,
The Wake,
Electric Light Orchestra,
Sandy B,
Orchestral Manoeuvres in the Dark,
Funky Four + One,
Kerri Chandler,
Be Bop Deluxe,
UT,
Jandek,
ABC,
Sugar Minott,
The Grass Roots,
Newcleus,
Eli Mardock,
Pylon, Pylon, Pylon, Pylon.
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.