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 Brunei and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Beijing 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 Curtis Mayfield to the dance kids.
I played it at the Roxy.
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 David McCallum. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Newcleus,
Unrelated Segments,
Simply Red,
Bad Manners,
Jeru the Damaja,
Notorious BIG live in Amsterdam,
Angry Samoans,
Glambeats Corp.,
Bush Tetras,
Henry Cow,
Lightning Bolt,
Echo & the Bunnymen,
Michelle Simonal,
Tropical Tobacco,
Radio Birdman,
Crispian St. Peters,
Radiohead,
Underground Resistance,
Loose Ends,
John Cale,
Stockholm Monsters,
Barry Ungar,
Electric Prunes,
The Young Rascals,
The Sisters of Mercy,
Frankie Knuckles,
Quadrant,
The Fugs,
Los Fastidios,
Zapp,
Minny Pops,
Patti Smith,
Connie Case,
The Searchers,
T.S.O.L.,
Radiopuhelimet,
48th St. Collective,
Richard Hell and the Voidoids,
Roxy Music,
Amon Düül,
Niagra,
Chris Corsano,
Livin' Joy,
Morten Harket,
Tom Boy,
Scion,
Lizzy Mercier Descloux,
Sun Ra Arkestra,
Zero Boys,
Jesper Dahlbäck,
John Lydon,
Yusef Lateef,
Jacques Brel,
Gang Green,
The Last Poets,
Blancmange,
The West Coast Pop Art Experimental Band,
Thinking Fellers Union Local 282,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.