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 Kiribati and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Portland 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 snare 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 The Techniques to the electroclash kids.
I played it at the Astoria.
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 Gregory Isaacs. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Black Pus 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Faraquet,
Panda Bear,
Ultimate Spinach,
Black Pus,
Masters at Work,
Sonic Youth,
Dave Gahan,
Outsiders,
MC5,
The Flesh Eaters,
Mars,
Röyhkä ja Rättö ja Lehtisalo,
The Music Machine,
The Gap Band,
Nik Kershaw,
Kango’s Stein Massive,
Tres Demented,
Pantaleimon,
Yellowson,
Althea and Donna,
Big Daddy Kane,
Stiv Bators,
Au Pairs,
Quando Quango,
Ludus,
Dawn Penn,
Blancmange,
Eyeless In Gaza,
Gian Franco Pienzio,
Super Lover Cee & Casanova Rud,
FM Einheit,
Kings Of Tomorrow,
The Men They Couldn't Hang,
Sex Pistols,
Kool Moe Dee,
Albert Ayler,
Frankie Knuckles,
Robert Görl,
Eurythmics,
Boogie Down Productions,
Adolescents,
Shuggie Otis,
Kenny Larkin,
Ice-T,
Mo-Dettes,
Lonnie Liston Smith,
The Grass Roots,
Bauhaus,
The Move,
the Normal,
The Happenings,
Gil Scott-Heron and Jamie xx,
The Slits,
The Real Kids,
Nation of Ulysses,
The Victims,
Godley & Creme,
The Sonics,
The Cramps, The Cramps, The Cramps, The Cramps.
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.