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 St Kitts & Nevis and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Shanghai 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 mellotron 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 Hasil Adkins to the grime 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 Half Japanese. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Amon Düül II,
Jerry Gold Smith,
The Leaves,
Second Layer,
The Black Dice,
Lakeside,
Girls At Our Best!,
Strawberry Alarm Clock,
R.M.O.,
Colin Newman,
Fluxion,
The Last Poets,
The Beau Brummels,
Kango’s Stein Massive,
Lou Reed,
Barry Ungar,
Bauhaus,
Bluetip,
DJ Sneak,
Mission of Burma,
Von Mondo,
JFA,
X-102,
Arab on Radar,
The Jesus and Mary Chain,
Archie Shepp,
Kevin Saunderson,
Sarah Menescal,
Ohio Players,
Piero Umiliani,
Rod Modell,
Sunsets and Hearts,
Intrusion,
Minutemen,
Albert Ayler,
John Cale,
Parry Music,
Jeru the Damaja,
Beasts of Bourbon,
Vladislav Delay,
Rekid,
Kurtis Blow,
Depeche Mode,
Can,
Joy Division,
Crime,
Japan,
The Barracudas,
Crooked Eye,
Blancmange,
The Index,
Spandau Ballet,
Nils Olav,
David Axelrod,
Magazine,
Barclay James Harvest,
Rapeman,
World's Most,
Orchestral Manoeuvres in the Dark,
Al Stewart,
Maleditus Sound,
Mars, Mars, Mars, Mars.
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.