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 Colombia and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television 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 1964 to 1972.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Lille 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro 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 Röyhkä ja Rättö ja Lehtisalo to the techno kids.
I played it at CBGB's.
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 Lucky Dragons. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Funkadelic,
Royal Trux,
Bush Tetras,
Scion,
Erasure,
Joey Negro,
Blossom Toes,
Pylon,
Sixth Finger,
Mr. Review,
Amon Düül,
Agent Orange,
Siouxsie and the Banshees,
The Modern Lovers,
Ornette Coleman,
The West Coast Pop Art Experimental Band,
Cluster,
Flamin' Groovies,
Funky Four + One,
LL Cool J,
Flipper,
Quando Quango,
John Cale,
Rowland S Howard / Lydia Lunch,
Fluxion,
Toni Rubio,
Don Cherry,
Rapeman,
The Doobie Brothers,
Juan Atkins,
Radiopuhelimet,
Black Pus,
Au Pairs,
The Flesh Eaters,
Drexciya,
Avey Tare,
Deepchord,
Gichy Dan,
Unrelated Segments,
Jesper Dahlback,
Soft Cell,
Leonard Cohen,
Lalo Schifrin,
Maleditus Sound,
Jeff Mills,
John Foxx,
Tubeway Army,
Loose Ends,
Deakin,
Lonnie Liston Smith,
Ralphi Rosario,
Teenage Jesus and the Jerks,
Notorious BIG live in Amsterdam,
Danielle Patucci,
Alphaville,
Gian Franco Pienzio,
Cabaret Voltaire,
Shuggie Otis,
David Bowie,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.