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 United Kingdom and from Halifax.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school Bologna 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Lucky Dragons to the rock kids.
I played it at Trash.
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 Dead Boys. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Janne Schatter,
The Standells,
James Chance & The Contortions,
Dr. Dre and Snoop Doggy Dog,
The Residents,
Zapp,
Kenny Larkin,
Country Joe & The Fish,
Sly & The Family Stone,
Cluster,
Cybotron,
Delon & Dalcan,
Fatback Band,
Prince Buster,
Anakelly,
Jawbox,
Grauzone,
DNA,
Freddie Wadling,
New York Dolls,
The Gladiators,
Royal Trux,
Peter and Kerry,
Ludus,
Talk Talk,
Ohio Players,
Harry Pussy,
Yusef Lateef,
Country Teasers,
Circle Jerks,
Pole,
Intrusion,
Oneida,
Tommy Roe,
Crispy Ambulance,
Dark Day,
Parry Music,
Mad Mike,
The Flesh Eaters,
Minnie Riperton,
the Association,
The United States of America,
Derrick May,
The Birthday Party,
Barbara Tucker,
Glenn Branca,
The Red Krayola,
Graham Central Station,
Swell Maps,
Gil Scott Heron,
This Heat,
June Days,
Gary Puckett & The Union Gap,
Unrelated Segments,
the Human League,
China Crisis,
Jesper Dahlback,
Nation of Ulysses,
Gang Green,
Sällskapet,
Subhumans, Subhumans, Subhumans, Subhumans.
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.