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 Micronesia and from Tehran.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Calgary.
I'm losing my edge to the art-school Toronto 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 808 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 Echospace to the grime kids.
I played it at Trash.
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 Rekid. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
The Blackbyrds,
The Mummies,
Sparks,
Rapeman,
Avey Tare,
Major Organ And The Adding Machine,
Wighnomy Brothers & Robag Wruhme,
Avey Tare's Slasher Flicks,
Bootsy Collins,
The Barracudas,
Interpol,
The Knickerbockers,
Joe Finger,
Crispian St. Peters,
The Beau Brummels,
Davy DMX,
Alphaville,
Morten Harket,
Ponytail,
Fifty Foot Hose,
48th St. Collective,
Country Joe & The Fish,
Donald Byrd,
The Pop Group,
Steve Hackett,
Public Enemy,
Fela Kuti,
Sexual Harrassment,
Von Mondo,
Royal Trux,
Agent Orange,
Sun City Girls,
Black Flag,
Tubeway Army,
Pantaleimon,
Maurizio,
Ossler,
The Golliwogs,
The Count Five,
Massinfluence,
Lonnie Liston Smith,
June of 44,
Pierre Henry,
The Monochrome Set,
Jerry Gold Smith,
Johnny Clarke,
Lyres,
Eric Copeland,
Frankie Knuckles,
Gerry Rafferty,
The Fuzztones,
Drexciya,
Scott Walker,
Black Bananas,
The West Coast Pop Art Experimental Band,
Spandau Ballet,
Quantec,
ABBA,
Scion,
Sight & Sound,
The Cosmic Jokers,
Bill Wells,
John Foxx, John Foxx, John Foxx, John Foxx.
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.