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 Saudi Arabia and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Winnipeg.
I'm losing my edge to the art-school Spokane 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Eli Mardock to the techno 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 The Cowsills. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Spandau Ballet,
Kevin Saunderson,
Marvin Gaye,
Guru Guru,
Joe Smooth,
Alison Limerick,
Alice Coltrane,
Lyres,
Man Parrish,
The Electric Prunes,
Make Up,
FM Einheit,
The Sound,
The Slits,
Trumans Water,
Lafayette Afro Rock Band,
Jeff Mills,
Juan Atkins,
Radio Birdman,
the Human League,
Scratch Acid,
Gabor Szabo,
Chris & Cosey,
Girls At Our Best!,
The Searchers,
Glenn Branca,
Prince Buster,
Soft Cell,
Kauko Röyhkä ja Narttu,
June of 44,
Josef K,
Aswad,
Technova,
Rotary Connection,
Dual Sessions,
Bauhaus,
Fort Wilson Riot,
X-101,
Kango’s Stein Massive,
Minnie Riperton,
Moby Grape,
Ossler,
Johnny Clarke,
Young Marble Giants,
Skriet,
The Invisible,
The Blues Magoos,
Mr. Review,
Marc Almond,
Frankie Knuckles,
Jacques Brel,
Talk Talk,
Beasts of Bourbon,
Pharaoh Sanders and the Fire Engines,
Eden Ahbez,
The Jesus and Mary Chain,
Dawn Penn,
Rod Modell,
Terrestrial Tones,
The Offenders,
The Standells, The Standells, The Standells, The Standells.
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.