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 Lebanon and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Stockholm 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Agitation Free to the funk 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 Roger Hodgson. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
The Dirtbombs,
DeepChord presents Echospace,
David Bowie,
Jandek,
OOIOO,
The Raincoats,
Fifty Foot Hose,
Minutemen,
Jeru the Damaja,
The Move,
Sarah Menescal,
John Holt,
Rufus Thomas,
Red Lorry Yellow Lorry,
Soft Machine,
Jacques Brel,
Magma,
The Gap Band,
Peter Gordon & Love of Life Orchestra,
Marc Almond,
Black Sheep,
Manfred Mann's Earth Band,
Khruangbin,
Laurel Aitken,
Television Personalities,
James Chance & The Contortions,
Second Layer,
Heavy D & The Boyz,
Stetsasonic,
Agent Orange,
The Happenings,
Chrome,
The Cure,
The Sound,
Soul Sonic Force,
The Seeds,
Pete Rock & C.L. Smooth,
F. McDonald,
Sad Lovers and Giants,
Pussy Galore,
Deakin,
Todd Rundgren,
The Barracudas,
Groovy Waters,
The Pop Group,
Cybotron,
Vainqueur,
Oblivians,
Sound Behaviour,
Justin Hinds & The Dominoes,
Royal Trux,
Masters at Work,
Parry Music,
Marine Girls,
Sex Pistols,
Vaughan Mason & Crew,
Fat Boys,
Röyhkä ja Rättö ja Lehtisalo,
Terrestrial Tones,
The Names,
Maleditus Sound,
KRS-One, KRS-One, KRS-One, KRS-One.
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.