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 Namibia and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1965 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Spokane.
I'm losing my edge to the art-school Tokyo 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the oboe 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 Fat Boys to the punk kids.
I played it at Trash.
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 Happenings. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Todd Rundgren,
Sister Nancy,
The Move,
Pulsallama,
Red Lorry Yellow Lorry,
Siouxsie and the Banshees,
Los Fastidios,
Davy DMX,
The Fuzztones,
Boredoms,
The Detroit Cobras,
Schoolly D,
The Dead C,
Rotary Connection,
Gang Gang Dance,
Big Daddy Kane,
Kauko Röyhkä ja Narttu,
Lee Hazlewood,
Babytalk,
the Fania All-Stars,
Excepter,
Lalann,
UT,
X-102,
Judy Mowatt,
Stereo Dub,
Gong,
Ronnie Foster,
Robert Hood,
Radiopuhelimet,
Minor Threat,
Black Bananas,
Crispian St. Peters,
Richard Hell and the Voidoids,
Tom Boy,
Sarah Menescal,
Mars,
Pierre Henry,
Minny Pops,
The Stooges,
Stockholm Monsters,
Nils Olav,
In Retrospect,
Pantytec,
The Dirtbombs,
Arthur Verocai,
The Gun Club,
John Foxx,
Yusef Lateef,
Gang of Four,
kango's stein massive,
Parry Music,
Sly & The Family Stone,
Freddie Wadling,
Eve St. Jones,
The Dave Clark Five,
Oppenheimer Analysis,
Jerry Gold Smith,
Alice Coltrane,
Barry Ungar,
The Sisters of Mercy,
Peter and Kerry,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.