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 Romania and from Bremen.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
I'm losing my edge to the art-school Portland 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 arpeggiator 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 Morten Harket to the dance 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 Livin' Joy. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Albert Ayler 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
The Alarm Clocks,
World's Most,
Absolute Body Control,
Barbara Tucker,
H. Thieme,
Vaughan Mason & Crew,
Rufus Thomas,
Rowland S Howard / Lydia Lunch,
The Raincoats,
The Fall,
Average White Band,
Motorama,
Chris & Cosey,
De La Soul & Jungle Brothers,
Leonard Cohen,
Notorious Big And Bone Thugs,
Lungfish,
The Toasters,
The Seeds,
Yellowson,
Dave Gahan,
The Sound,
The Martian,
Donald Byrd,
Jacob Miller,
Lakeside,
The Move,
Talk Talk,
James White and The Blacks,
Aural Exciters,
Black Sheep,
Fluxion,
Lightning Bolt,
Tears for Fears,
Nico,
Babytalk,
Section 25,
June of 44,
Kurtis Blow,
X-101,
Sad Lovers and Giants,
Echospace,
Orchestral Manoeuvres in the Dark,
Skarface,
Nation of Ulysses,
Sly & The Family Stone,
Rosa Yemen,
The Moody Blues,
Television Personalities,
X-Ray Spex,
Isaac Hayes,
Bauhaus,
Ludus,
Patti Smith,
Cameo,
In Retrospect,
The Star Department,
Man Eating Sloth,
Black Pus,
Scrapy,
Alison Limerick,
Roy Ayers Ubiquity,
Gong, Gong, Gong, Gong.
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.