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 Uganda and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Houston and New York.
I'm losing my edge to the art-school Mexico City 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 sitar 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 Harry Pussy to the dance 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 Strawberry Alarm Clock. All the underground hits.
All Visionaries,LMNO, T- Love & Iriscience tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '70s.
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 Procol Harum record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Bang On A Can,
Derrick May,
Rhythm & Sound,
Gong,
The Angels of Light,
the Soft Cell,
Kauko Röyhkä ja Narttu,
Godley & Creme,
Drive Like Jehu,
Wire,
the Swans,
Flash Fearless,
Minutemen,
Deadbeat,
Bobbi Humphrey,
Steve Hackett,
Sound Behaviour,
The Moleskins,
Aural Exciters,
Los Fastidios,
The Mojo Men,
Johnny Clarke,
Stetsasonic,
Dawn Penn,
The J.B.'s,
Red Lorry Yellow Lorry,
Sparks,
Qualms,
The Flesh Eaters,
DeepChord presents Echospace,
Colin Newman,
Dave Gahan,
Goldenarms,
Mad Mike,
Average White Band,
Amon Düül,
Talk Talk,
Depeche Mode,
John Cale,
Faraquet,
Notorious BIG live in Amsterdam,
DJ Sneak,
X-102,
MC5,
Gichy Dan,
Model 500,
Hardrive,
New Order,
the Association,
The Beau Brummels,
Public Enemy,
Orchestral Manoeuvres in the Dark,
Blossom Toes,
Leonard Cohen,
Kerrie Biddell,
Bill Wells,
It's A Beautiful Day,
Anthony Braxton,
Flipper,
Jeru the Damaja,
Guru Guru,
The Kinks, The Kinks, The Kinks, The Kinks.
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.