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 Sweden and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Tehran 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 techno kids.
I played it at the Crocodile.
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 48th St. Collective. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every AZ 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 a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Terry Callier,
ABC,
Bill Wells,
Scrapy,
Matthew Halsall,
Animal Collective,
Roxette,
Ponytail,
Fugazi,
Scratch Acid,
Rapeman,
Fifty Foot Hose,
Deadbeat,
Altered Images,
Joyce Sims,
Kango’s Stein Massive,
Outsiders,
Terrestrial Tones,
Babytalk,
Erasure,
Schoolly D,
Hasil Adkins,
A Certain Ratio,
Adolescents,
Fad Gadget,
Television,
Eurythmics,
Warren Ellis,
Man Eating Sloth,
Jeff Mills,
Nils Olav,
Neil Young & Crazy Horse,
Nico,
Amazonics,
Malaria!,
Junior Murvin,
Suburban Knight,
Masters at Work,
Accadde A,
X-Ray Spex,
Subhumans,
Richard Hell and the Voidoids,
The Black Dice,
Talk Talk,
The J.B.'s,
Interpol,
The Move,
Mad Mike,
Tropical Tobacco,
Gil Scott-Heron and Jamie xx,
Quando Quango,
Sun City Girls,
Jesper Dahlback,
Livin' Joy,
The Fortunes,
Faraquet,
Siouxsie and the Banshees,
The Velvet Underground,
Sonic Youth,
Aloha Tigers,
Franke, Franke, Franke, Franke.
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.