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 Estonia and from Madrid.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school New York 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Interpol to the rock kids.
I played it at the Astoria.
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 48th St. Collective. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Pulsallama 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Suburban Knight,
Q65,
the Fania All-Stars,
Goldenarms,
Technova,
Silicon Teens,
Reuben Wilson,
Boz Scaggs,
FM Einheit,
Symarip,
Marc Almond,
Kurtis Blow,
The Sonics,
Ken Boothe,
Make Up,
Joey Negro,
Rakim,
New Age Steppers,
a-ha,
Robert Görl,
Royal Trux,
Kauko Röyhkä ja Narttu,
Grey Daturas,
The Fortunes,
Brand Nubian,
R.M.O.,
Iggy Pop,
Ultimate Spinach,
Kool Moe Dee,
Kas Product,
Isaac Hayes,
Country Teasers,
Qualms,
Pierre Henry,
Main Source,
Dual Sessions,
Quantec,
Peter and Kerry,
Black Pus,
Gil Scott-Heron and Jamie xx,
Severed Heads,
Lizzy Mercier Descloux,
John Foxx,
Soul Sonic Force,
Frankie Knuckles,
Theoretical Girls,
Organ,
Accadde A,
The Birthday Party,
ABBA,
X-102,
Toni Rubio,
Can,
The Music Machine,
Orchestral Manoeuvres in the Dark,
Gastr Del Sol,
JFA,
The Real Kids,
Spoonie Gee,
Sandy B,
The Tremeloes,
Jesper Dahlback,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.