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 Turkey and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Manila and Manchester.
I'm losing my edge to the art-school Winnipeg 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 Brothers Johnson to the electroclash kids.
I played it at the Spitz.
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 Minnie Riperton. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
a-ha,
The Standells,
Sugar Minott,
Aaron Thompson,
Bobby Womack,
Susan Cadogan,
The West Coast Pop Art Experimental Band,
Agent Orange,
James White and The Blacks,
Adolescents,
Newcleus,
Maleditus Sound,
Bad Manners,
Funky Four + One,
Young Marble Giants,
Duran Duran,
The Victims,
Lafayette Afro Rock Band,
The Selecter,
New Age Steppers,
Janne Schatter,
Piero Umiliani,
Iggy Pop,
Funkadelic,
Kaleidoscope,
The Move,
Amon Düül II,
Rapeman,
the Normal,
Heaven 17,
New Order,
Eyeless In Gaza,
Siouxsie and the Banshees,
Brand Nubian,
Arcadia,
Pole,
Peter and Kerry,
Skaos,
Eurythmics,
MDC,
Lyres,
Orchestral Manoeuvres in the Dark,
Kango’s Stein Massive,
Drexciya,
ABC,
Bobbi Humphrey,
The Neon Judgement,
Dead Boys,
Roy Ayers,
Josef K,
Urselle,
David McCallum,
Scion,
Whodini,
Lightning Bolt,
Massinfluence,
Depeche Mode,
Magazine,
Livin' Joy,
The Knickerbockers,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.