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 China and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1977.
I'm losing my edge.
To all the kids in Madrid and Edmonton.
I'm losing my edge to the art-school Mumbai 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 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 Newcleus to the punk kids.
I played it at Cafe Wha.
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 Vladislav Delay. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
The Neon Judgement,
Urselle,
Sugar Minott,
The Detroit Cobras,
Justin Hinds & The Dominoes,
Archie Shepp,
The Names,
Orchestral Manoeuvres in the Dark,
Parry Music,
The Smoke,
Delon & Dalcan,
cv313,
Heavy D & The Boyz,
Lou Reed,
Dead Boys,
Black Bananas,
Jeff Mills,
The Grass Roots,
Cal Tjader,
Section 25,
Television Personalities,
Moby Grape,
Dark Day,
the Soft Cell,
Johnny Osbourne,
Mo-Dettes,
The Cowsills,
Sun City Girls,
Jesper Dahlback,
John Cale,
Khruangbin,
Quadrant,
Tropical Tobacco,
Gary Puckett & The Union Gap,
This Heat,
James Chance & The Contortions,
Marc Almond,
Fluxion,
F. McDonald,
Mad Mike,
Ralphi Rosario,
Ice-T,
Alton Ellis,
Organ,
the Fania All-Stars,
Rotary Connection,
Unrelated Segments,
Arcadia,
Rod Modell,
Avey Tare & Kría Brekkan,
Audionom,
Jacob Miller,
June of 44,
Essential Logic,
Lyres,
Andrew Hill,
Kerri Chandler,
Lou Christie,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.