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 Nicaragua and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer 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 Urselle to the funk kids.
I played it at the Roxy.
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 Men They Couldn't Hang. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Don Cherry,
Magazine,
Newcleus,
Crash Course in Science,
Major Organ And The Adding Machine,
Pierre Henry,
Albert Ayler,
Harry Pussy,
Grauzone,
Tommy Roe,
James White and The Blacks,
Negative Approach,
Big Daddy Kane,
Mantronix,
Cybotron,
Cabaret Voltaire,
Dark Day,
Arab on Radar,
The Remains,
Half Japanese,
Joe Finger,
Fat Boys,
De La Soul & Jungle Brothers,
The Gories,
Faraquet,
Soul Sonic Force,
Swell Maps,
Radiohead,
Junior Murvin,
Sandy B,
Pussy Galore,
Flash Fearless,
R.M.O.,
DJ Sneak,
The Dave Clark Five,
The Modern Lovers,
a-ha,
Judy Mowatt,
Ronnie Foster,
Lebanon Hanover,
Subhumans,
Super Lover Cee & Casanova Rud,
Crime,
Nirvana,
Radiopuhelimet,
Whodini,
Connie Case,
The Beau Brummels,
Archie Shepp,
Maleditus Sound,
Lou Christie,
Ituana,
Lou Reed & Metallica,
Laurel Aitken,
Röyhkä ja Rättö ja Lehtisalo,
Rapeman,
Bush Tetras,
The Dead C,
Popol Vuh,
Q65,
Animal Collective,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.