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 Finland and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Salvador.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Ossler to the electroclash kids.
I played it at the Troubador.
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 Second Layer. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Mad Mike 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
the Sonics,
Bill Wells,
Freddie Wadling,
Sonny Sharrock,
The Seeds,
Rufus Thomas,
Eric Copeland,
The Star Department,
ABC,
Sixth Finger,
A Flock of Seagulls,
Average White Band,
The Flesh Eaters,
the Germs,
Model 500,
Agent Orange,
Nation of Ulysses,
Maurizio,
Chris Corsano,
Stiv Bators,
Art Ensemble Of Chicago,
Lee Hazlewood,
Sex Pistols,
8 Eyed Spy,
Robert Görl,
Barbara Tucker,
Lafayette Afro Rock Band,
Mark Hollis,
Aswad,
Amazonics,
Hasil Adkins,
the Bar-Kays,
John Foxx,
Minny Pops,
Andrew Hill,
The Fuzztones,
Judy Mowatt,
Rhythm & Sound,
Stereo Dub,
The Move,
Larry & the Blue Notes,
Tres Demented,
Interpol,
Flash Fearless,
Organ,
DJ Sneak,
Brothers Johnson,
X-101,
Lungfish,
Angry Samoans,
Drive Like Jehu,
48th St. Collective,
Trumans Water,
10cc,
The Sound,
Jandek,
Lakeside,
Theoretical Girls,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.