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 Maldives and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 48th St. Collective to the rap 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 Josef K. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal disco 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 a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
The Martian,
Justin Hinds & The Dominoes,
Sad Lovers and Giants,
Teenage Jesus and the Jerks,
the Soft Cell,
The Real Kids,
The Star Department,
Half Japanese,
Girls At Our Best!,
A Certain Ratio,
Q65,
Saccharine Trust,
Gang of Four,
Fad Gadget,
Surgeon,
Delta 5,
Suburban Knight,
Neil Young,
The Fuzztones,
L. Decosne,
Dark Day,
Richard Hell and the Voidoids,
Letta Mbulu,
Pulsallama,
Grandmaster Flash and the Furious Five,
Circle Jerks,
Hasil Adkins,
X-102,
Gian Franco Pienzio,
Skarface,
The West Coast Pop Art Experimental Band,
John Holt,
Rowland S Howard / Lydia Lunch,
MC5,
DJ Sneak,
Echospace,
Section 25,
Intrusion,
Mandrill,
The Fire Engines,
X-101,
Alison Limerick,
The Modern Lovers,
The Leaves,
Dead Boys,
Laurel Aitken,
Goldenarms,
Arthur Verocai,
Country Teasers,
Warsaw,
Kango’s Stein Massive,
Duran Duran,
The Searchers,
Eyeless In Gaza,
X-Ray Spex,
Vladislav Delay,
The Vogues,
Parry Music,
Charles Mingus,
Moby Grape,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.