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 Benin and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1978.
I'm losing my edge.
To all the kids in New York and London.
I'm losing my edge to the art-school Madrid 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Vaughan Mason & Crew to the techno 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 Gichy Dan. All the underground hits.
All CMW tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
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 The Zeros record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Orchestral Manoeuvres in the Dark,
Bang On A Can,
The Young Rascals,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sexual Harrassment,
Reuben Wilson,
The Residents,
AZ,
Little Man,
the Slits,
Sex Pistols,
Tom Boy,
Radiopuhelimet,
Hot Snakes,
Röyhkä ja Rättö ja Lehtisalo,
Visage,
It's A Beautiful Day,
Scratch Acid,
Rufus Thomas,
June of 44,
Lebanon Hanover,
Bootsy's Rubber Band,
Big Daddy Kane,
Pharaoh Sanders and the Fire Engines,
Josef K,
The Chocolate Watch Band,
Wighnomy Brothers & Robag Wruhme,
Danielle Patucci,
Dennis Brown,
Jeff Mills,
Ash Ra Tempel,
Surgeon,
Ornette Coleman,
DNA,
LL Cool J,
Sparks,
Crime,
Dual Sessions,
Faraquet,
Desert Stars,
Graham Central Station,
Black Moon,
Average White Band,
The Mojo Men,
The Sonics,
Fluxion,
Joey Negro,
China Crisis,
The Fuzztones,
Ralphi Rosario,
Gong,
Gabor Szabo,
Electric Light Orchestra,
Throbbing Gristle,
June Days,
The American Breed,
Television,
Aaron Thompson,
Rhythm & Sound,
Arab on Radar,
Section 25, Section 25, Section 25, Section 25.
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.