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 Oman 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 1967 to 1979.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
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 1971 at the first Selda practice in a loft in Istanbul.
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 Pylon to the crunk 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 Faust. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Joensuu 1685 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Graham Central Station,
Grey Daturas,
Heaven 17,
Dave Gahan,
Man Parrish,
Bobby Hutcherson,
Janne Schatter,
Flamin' Groovies,
Fat Boys,
Theoretical Girls,
Delon & Dalcan,
Traffic Nightmare,
Fela Kuti,
X-102,
Avey Tare & Kría Brekkan,
The Human League,
Marine Girls,
The Stooges,
The Sisters of Mercy,
Deutsch Amerikanische Freundschaft,
The Velvet Underground,
MDC,
Jerry's Kids,
June of 44,
Josef K,
These Immortal Souls,
The Names,
Robert Wyatt,
Whodini,
This Heat,
Lindisfarne,
Soft Machine,
the Normal,
Sam Rivers,
Stockholm Monsters,
Alton Ellis,
Lyres,
Derrick Morgan,
Marshall Jefferson,
The Star Department,
The Move,
Silicon Teens,
Ronan,
Rakim,
Babytalk,
June Days,
Eli Mardock,
Rufus Thomas,
Dorothy Ashby,
kango's stein massive,
Lalann,
The Cramps,
Model 500,
The Trojans,
Piero Umiliani,
Gang Green,
Unwound,
Marc Romboy vs. Booka Shade,
Hot Snakes,
UT,
The Smoke,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.