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 Greece and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 güiro 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 Joey Negro to the punk kids.
I played it at the Crocodile.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Swans,
The Monochrome Set,
Young Marble Giants,
Anthony Braxton,
A Flock of Seagulls,
Big Daddy Kane,
Bauhaus,
Kas Product,
the Soft Cell,
Dawn Penn,
Icehouse,
Ultra Naté,
The Remains,
Pole,
Girls At Our Best!,
Rowland S Howard / Lydia Lunch,
Rod Modell,
Gil Scott-Heron and Jamie xx,
Nick Cave & The Bad Seeds,
Bluetip,
R.M.O.,
Moebius,
Goldenarms,
The Litter,
Funkadelic,
Kevin Saunderson,
Fat Boys,
Robert Hood,
Crooked Eye,
Colin Newman,
Teenage Jesus and the Jerks,
Radiohead,
The Cure,
H. Thieme,
Section 25,
the Human League,
The Count Five,
Marshall Jefferson,
The Gladiators,
Grey Daturas,
Fad Gadget,
The Music Machine,
Pharaoh Sanders and the Fire Engines,
Black Bananas,
Sparks,
La Düsseldorf,
David McCallum,
Monks,
DJ Style,
Main Source,
Funky Four + One,
Sight & Sound,
Warsaw,
Marmalade,
The Sound,
the Normal,
Sixth Finger,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Von Mondo,
Alison Limerick,
De La Soul & Jungle Brothers,
Khruangbin,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.