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 Slovakia and from Houston.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Taipei 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 harpsichord 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 Mars to the electroclash kids.
I played it at the Spitz.
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 Stockholm Monsters. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Whodini record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
June Days,
Duran Duran,
Ornette Coleman,
Cabaret Voltaire,
Sexual Harrassment,
Peter & Gordon,
Orchestral Manoeuvres in the Dark,
The Shadows of Knight,
Heaven 17,
Judy Mowatt,
Ultra Naté,
John Holt,
Dawn Penn,
Sight & Sound,
Minnie Riperton,
Leonard Cohen,
Big Daddy Kane,
Pylon,
Sister Nancy,
Drive Like Jehu,
Stetsasonic,
Organ,
Nick Fraelich,
DNA,
The Cure,
Metal Thangz,
The Searchers,
Kayak,
Be Bop Deluxe,
Visage,
Isaac Hayes,
It's A Beautiful Day,
Wasted Youth,
The Slackers,
Graham Central Station,
Pere Ubu,
JFA,
The Peanut Butter Conspiracy,
Bootsy Collins,
Supertramp,
The Residents,
Young Marble Giants,
Chris & Cosey,
the Normal,
Harry Pussy,
Fear,
Kaleidoscope,
Yusef Lateef,
Q65,
Eric Copeland,
Beasts of Bourbon,
Mr. Review,
Tropical Tobacco,
Jeru the Damaja,
Cameo,
Jeff Mills,
Notorious BIG live in Amsterdam,
Andrew Ashong & Theo Parrish,
Dark Day,
Public Image Ltd.,
Susan Cadogan,
The Gories,
Bill Near, Bill Near, Bill Near, Bill Near.
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.