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 Zimbabwe and from Salvador.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school New York 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 Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb 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 Bang On A Can to the grime kids.
I played it at the Crocodile.
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 Sonics. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Public Enemy,
Flipper,
Ten City,
Hoover,
E-Dancer,
Bronski Beat,
Tomorrow,
Crime,
U.S. Maple,
The Mojo Men,
Vladislav Delay,
Q65,
The Blackbyrds,
Roxy Music,
Soft Cell,
Rites of Spring,
Albert Ayler,
The Peanut Butter Conspiracy,
June Days,
Franke,
48th St. Collective,
The Motions,
X-101,
Lou Reed & Metallica,
the Slits,
The Dead C,
Black Bananas,
Boredoms,
Grey Daturas,
Soul Sonic Force,
Darondo,
Royal Trux,
Gang Gang Dance,
Soulsonic Force,
Jeff Mills,
Arab on Radar,
Gian Franco Pienzio,
Faust,
Wire,
Pere Ubu,
Fugazi,
Zapp,
Half Japanese,
Oppenheimer Analysis,
Sarah Menescal,
the Normal,
Chris Corsano,
Peter and Kerry,
Susan Cadogan,
Fela Kuti,
Negative Approach,
Ohio Players,
Matthew Halsall,
The Buckinghams,
Make Up,
Easy Going,
Chris & Cosey,
Inner City,
Thompson Twins,
Skaos,
Lakeside,
The Associates, The Associates, The Associates, The Associates.
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.