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 Tajikistan and from Bremen.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Delhi and Glasgow.
I'm losing my edge to the art-school Hong Kong 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 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 Marc Almond to the dance kids.
I played it at the Roxy.
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 Birthday Party. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Joy Division,
Crash Course in Science,
Sight & Sound,
Kings Of Tomorrow,
Radio Birdman,
The Leaves,
The Move,
Bang on a Can All-Stars,
Ultravox,
Andrew Hill,
Leonard Cohen,
Eric Copeland,
Bang On A Can,
Johnny Osbourne,
Arab on Radar,
Essential Logic,
The Fugs,
Agent Orange,
Marc Almond,
R.M.O.,
The Gories,
The Detroit Cobras,
Little Man,
Kurtis Blow,
MDC,
Symarip,
Easy Going,
Rod Modell,
Minor Threat,
Slave,
It's A Beautiful Day,
Metal Thangz,
John Cale,
a-ha,
Gil Scott-Heron and Jamie xx,
Fatback Band,
Public Image Ltd.,
B.T. Express,
The Motions,
Audionom,
Duran Duran,
Yazoo,
De La Soul & Jungle Brothers,
Shoche,
Manfred Mann's Earth Band,
James Chance & The Contortions,
The Sonics,
The Index,
Sällskapet,
Von Mondo,
X-Ray Spex,
Section 25,
The Cowsills,
Robert Wyatt,
Monks,
Alphaville,
Radiohead,
The Kinks,
Piero Umiliani,
Crispy Ambulance,
Terror Squad Feat. Camron,
Outsiders,
Cymande, Cymande, Cymande, Cymande.
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.