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 Australia and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
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 harpsichord 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 Darondo to the electroclash kids.
I played it at the 40 Watt.
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 Knickerbockers. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Gil Scott-Heron & Brian Jackson,
The Gladiators,
James Chance & The Contortions,
Pole,
Gang Gang Dance,
Dennis Brown,
The Fire Engines,
Eli Mardock,
Cameo,
Masters at Work,
Henry Cow,
The Cosmic Jokers,
John Cale,
Wighnomy Brothers & Robag Wruhme,
Main Source,
The Music Machine,
Deakin,
Harpers Bizarre,
Spandau Ballet,
Rowland S Howard / Lydia Lunch,
Carl Craig,
Kayak,
Tomorrow,
Fatback Band,
the Soft Cell,
Cluster,
Visage,
Rahsaan Roland Kirk,
Jawbox,
Boredoms,
The West Coast Pop Art Experimental Band,
MC5,
The Neon Judgement,
Electric Prunes,
Eve St. Jones,
DJ Sneak,
Lou Christie,
Moebius,
The Young Rascals,
Kaleidoscope,
T. Rex,
Joensuu 1685,
Schoolly D,
Deadbeat,
Janne Schatter,
Oblivians,
Grey Daturas,
The Divine Comedy,
Blake Baxter,
Marcia Griffiths,
kango's stein massive,
Traffic Nightmare,
Eddi Front,
The Trojans,
Nick Fraelich,
Skriet,
Brothers Johnson,
Qualms,
Girls At Our Best!,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.