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 Turkey and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 theremin 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 X-101 to the electroclash kids.
I played it at the Hacienda.
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 Litter. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every 48th St. Collective 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Mad Mike,
Los Fastidios,
The Last Poets,
Rhythm & Sound,
Graham Central Station,
Kango’s Stein Massive,
Cybotron,
Mary Jane Girls,
Sight & Sound,
Oppenheimer Analysis,
Gang of Four,
X-Ray Spex,
Saccharine Trust,
Ash Ra Tempel,
Urselle,
Kool Moe Dee,
Lou Reed & John Cale,
Bang On A Can,
Tim Buckley,
Malaria!,
Robert Wyatt,
Flipper,
Agent Orange,
Gregory Isaacs,
the Germs,
8 Eyed Spy,
Mark Hollis,
Teenage Jesus and the Jerks,
Make Up,
Black Sheep,
T.S.O.L.,
Yellowson,
The Wake,
Echospace,
The Star Department,
Supertramp,
Neu!,
Juan Atkins,
Accadde A,
The Gladiators,
The American Breed,
The Young Rascals,
Oneida,
Camron Feat. Jay Z And Juelz,
Super Lover Cee & Casanova Rud,
Moss Icon,
Vainqueur,
Audionom,
Japan,
The J.B.'s,
The Mojo Men,
Can,
Radiohead,
Scan 7,
Maurizio,
Angry Samoans,
Harpers Bizarre,
Peter and Kerry,
Dr. Dre and Snoop Doggy Dog,
Marmalade,
The Human League,
Pete Rock & C.L. Smooth,
The Fall, The Fall, The Fall, The Fall.
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.