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 Lesotho and from Tehran.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 Lou Reed 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 Strawberry Alarm Clock to the techno kids.
I played it at the 40 Watt.
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 Desert Stars. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Eyeless In Gaza,
Fluxion,
Morten Harket,
Essential Logic,
Urselle,
Dead Boys,
The Barracudas,
Tears for Fears,
Mr. Review,
Quantec,
Mars,
Joyce Sims,
World's Most,
Ornette Coleman,
Mission of Burma,
Harpers Bizarre,
The Gories,
Theoretical Girls,
The Black Dice,
Rakim,
Metal Thangz,
Ultra Naté,
DJ Style,
Jesper Dahlback,
Bauhaus,
The Stooges,
The Young Rascals,
Andrew Hill,
Fugazi,
Ultravox,
Sight & Sound,
Franke,
Siouxsie and the Banshees,
Pussy Galore,
Selector Dub Narcotic,
Liliput,
Judy Mowatt,
Hardrive,
Davy DMX,
Dual Sessions,
Ice-T,
Crash Course in Science,
The Gun Club,
The Mojo Men,
Pantytec,
CMW,
The Angels of Light,
Cecil Taylor,
The Dead C,
Deakin,
Heaven 17,
Cheater Slicks,
Todd Rundgren,
Notorious BIG live in Amsterdam,
Zero Boys,
Bluetip,
Inner City, Inner City, Inner City, Inner City.
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.