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 Angola and from Woodstock.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1974.
I'm losing my edge.
To all the kids in Mumbai and Hong Kong.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 Josef K to the dance kids.
I played it at the Troubador.
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 Human League. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Camron Feat. Memphis Bleek And Beenie Seigel,
Minnie Riperton,
Dual Sessions,
Scientists,
The Fortunes,
Livin' Joy,
Derrick Morgan,
Basic Channel,
Mandrill,
Sällskapet,
The Fall,
Pete Rock & C.L. Smooth,
Inner City,
Ultramagnetic MC's,
The Last Poets,
Siouxsie and the Banshees,
The Divine Comedy,
Electric Light Orchestra,
The Slackers,
Gabor Szabo,
The Men They Couldn't Hang,
The Gladiators,
Unwound,
Bootsy's Rubber Band,
Sandy B,
Motorama,
KRS-One,
Visionaries,LMNO, T- Love & Iriscience,
Barry Ungar,
Bobby Byrd,
T.S.O.L.,
Tim Buckley,
Albert Ayler,
New Order,
Electric Prunes,
Reuben Wilson,
Jerry Gold Smith,
Sun City Girls,
Alison Limerick,
Heaven 17,
Piero Umiliani,
The United States of America,
Swans,
Bobby Sherman,
Radiopuhelimet,
Ornette Coleman,
It's A Beautiful Day,
The Durutti Column,
Dennis Brown,
Delta 5,
The Fugs,
The Velvet Underground,
Boredoms,
H. Thieme,
Loose Ends,
Charles Mingus,
Joensuu 1685,
The Birthday Party,
Scion,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.