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 Iceland and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Bremen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator 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 Barbara Tucker to the punk 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 Notorious BIG live in Amsterdam. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
The Moleskins,
Index,
Barry Ungar,
Minor Threat,
The Vogues,
Blossom Toes,
Faust,
the Human League,
Sister Nancy,
Fluxion,
Delon & Dalcan,
ABC,
Joensuu 1685,
Matthew Halsall,
Drive Like Jehu,
Qualms,
London Community Gospel Choir,
Yazoo,
Pierre Henry,
Bauhaus,
Ajijia Myrayebe,
Minnie Riperton,
Chris & Cosey,
Junior Murvin,
Amon Düül,
Howard Jones,
Albert Ayler,
Peter and Kerry,
Section 25,
The Count Five,
Pulsallama,
Hashim,
Sarah Menescal,
Deepchord,
Ultravox,
Quadrant,
Wally Richardson,
Frankie Knuckles,
Pole,
The Peanut Butter Conspiracy,
Interpol,
Glenn Branca,
Soulsonic Force,
Deutsch Amerikanische Freundschaft,
Sparks,
Roger Hodgson,
Dorothy Ashby,
Dead Boys,
The Invisible,
Donald Byrd,
Eddi Front,
Magma,
The Mojo Men,
Nils Olav,
The Motions,
The Wake,
New York Dolls,
Saccharine Trust,
Aswad,
Sound Behaviour,
Bang on a Can All-Stars,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.