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 Israel and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lagos and Shanghai.
I'm losing my edge to the art-school Stockholm 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Teenage Jesus and the Jerks to the dance 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 The Selecter. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Graham Central Station 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
The Alarm Clocks,
Brand Nubian,
Junior Murvin,
Blancmange,
Organ,
The Star Department,
Angels of Light & Akron/Family,
Eric B and Rakim,
The Red Krayola,
Bronski Beat,
Japan,
Boredoms,
LL Cool J,
Gichy Dan,
Jerry Gold Smith,
Black Bananas,
The Martian,
Bootsy's Rubber Band,
Gerry Rafferty,
Soul II Soul,
Chris Corsano,
Saccharine Trust,
Swell Maps,
Cluster,
The Dave Clark Five,
Grauzone,
Bang On A Can,
Justin Hinds & The Dominoes,
Avey Tare & Kría Brekkan,
Crispian St. Peters,
Hardrive,
The Tremeloes,
Scratch Acid,
The Gories,
Electric Prunes,
Joe Finger,
Neu!,
Jacob Miller,
Flamin' Groovies,
Alton Ellis,
Jeru the Damaja,
Charles Mingus,
Gian Franco Pienzio,
The Evens,
Shoche,
Henry Cow,
Man Eating Sloth,
Tomorrow,
Monks,
Boogie Down Productions,
London Community Gospel Choir,
Rekid,
Angry Samoans,
Sun Ra,
Nick Cave & The Bad Seeds,
Livin' Joy,
Q and Not U,
The Index,
Beasts of Bourbon,
Kango’s Stein Massive,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.