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 Albania and from Mexico City.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Cairo and Hong Kong.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 The Residents to the electroclash kids.
I played it at the Spitz.
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 Last Poets. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Crooked Eye,
Saccharine Trust,
Franke,
Echospace,
The Monks,
Spandau Ballet,
Jacob Miller,
La Düsseldorf,
DNA,
Circle Jerks,
London Community Gospel Choir,
Arthur Verocai,
Moss Icon,
Ultimate Spinach,
Dual Sessions,
The Star Department,
Sex Pistols,
Public Enemy,
Ice-T,
Icehouse,
The Flesh Eaters,
The Gap Band,
Cymande,
Teenage Jesus and the Jerks,
Gang Starr,
Glenn Branca,
Quadrant,
Boogie Down Productions,
Monks,
The Trojans,
The J.B.'s,
Patti Smith,
Erasure,
The Busters,
Visage,
Wasted Youth,
Cabaret Voltaire,
Moebius,
Smog,
the Bar-Kays,
The Cosmic Jokers,
The Velvet Underground,
The Buckinghams,
Janne Schatter,
Stereo Dub,
Flipper,
Vaughan Mason & Crew,
E-Dancer,
Outsiders,
Stockholm Monsters,
The Searchers,
Surgeon,
Fela Kuti,
Fat Boys,
John Coltrane,
The Dirtbombs,
The Beau Brummels,
ABC,
The Fuzztones,
In Retrospect,
the Germs, the Germs, the Germs, the Germs.
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.