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 Bolivia and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Delhi and Toronto.
I'm losing my edge to the art-school Bremen 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 arpeggiator 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 Gian Franco Pienzio to the funk 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 Sandy B. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Lizzy Mercier Descloux,
Cluster,
Donald Byrd,
Magazine,
Neil Young & Crazy Horse,
Gil Scott-Heron and Jamie xx,
Erasure,
Lee Hazlewood,
Spandau Ballet,
Harpers Bizarre,
Bobby Hutcherson,
DJ Style,
Lou Christie,
Procol Harum,
Slick Rick,
Soul Sonic Force,
Terry Callier,
Lou Reed & Metallica,
Ornette Coleman,
David Axelrod,
London Community Gospel Choir,
Mission of Burma,
ABBA,
Brass Construction,
Deutsch Amerikanische Freundschaft,
Interpol,
Adolescents,
Henry Cow,
Essential Logic,
Marcia Griffiths,
Jeff Lynne,
The Doors,
Roy Ayers,
Organ,
Letta Mbulu,
Sällskapet,
Quadrant,
The Cowsills,
Angry Samoans,
Negative Approach,
X-101,
Eli Mardock,
Scion,
The Knickerbockers,
Leonard Cohen,
Sexual Harrassment,
Schoolly D,
Warsaw,
Girls At Our Best!,
Banda Bassotti,
The Count Five,
The Index,
David McCallum,
Bootsy's Rubber Band,
Rapeman,
Ultra Naté,
H. Thieme,
Sixth Finger,
Minnie Riperton,
Liliput,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.