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 Congo and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Houston 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 theremin 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 Con Funk Shun to the disco 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 The Techniques. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Vainqueur 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Jawbox,
Severed Heads,
Bill Near,
Henry Cow,
Whodini,
Amon Düül,
Clear Light,
Ornette Coleman,
Wings,
Spandau Ballet,
The American Breed,
ABC,
Los Fastidios,
The Dave Clark Five,
Hardrive,
Jacques Brel,
The Monks,
The Zeros,
Index,
U.S. Maple,
Neil Young,
The Velvet Underground,
Al Stewart,
Roxy Music,
the Slits,
John Coltrane,
Bauhaus,
The Vogues,
Quando Quango,
Rhythm & Sound,
Unrelated Segments,
The Walker Brothers,
Vaughan Mason & Crew,
Flipper,
Prince Buster,
a-ha,
The Evens,
X-102,
The Slackers,
Suburban Knight,
Sight & Sound,
The Sonics,
The Sisters of Mercy,
Boogie Down Productions,
Terry Callier,
New Order,
Soul II Soul,
Arab on Radar,
Roxette,
Flamin' Groovies,
Liaisons Dangereuses,
JFA,
Donny Hathaway,
Ultra Naté,
Simply Red,
Matthew Bourne,
Ralphi Rosario,
Davy DMX,
Blancmange,
Isaac Hayes,
The Golliwogs,
Marshall Jefferson,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.