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 East Timor and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Lagos.
I'm losing my edge to the art-school Lille 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 arpeggiator 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 OOIOO to the electroclash kids.
I played it at Cafe Wha.
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 Sound Behaviour. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every The Remains 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Pierre Henry,
UT,
Boogie Down Productions,
Siglo XX,
The Pretty Things,
Ralphi Rosario,
The Cramps,
The Modern Lovers,
Nation of Ulysses,
Suicide,
Dorothy Ashby,
Can,
London Community Gospel Choir,
Fat Boys,
Gary Puckett & The Union Gap,
Marine Girls,
John Lydon,
Funky Four + One,
Spandau Ballet,
The Mummies,
Television,
Liliput,
Wings,
Underground Resistance,
Jacques Brel,
Reuben Wilson,
Rekid,
Soul Sonic Force,
Sällskapet,
Red Lorry Yellow Lorry,
Mr. Review,
Piero Umiliani,
Richard Hell and the Voidoids,
Talk Talk,
R.M.O.,
The Monochrome Set,
Aaron Thompson,
Bluetip,
Blancmange,
The Leaves,
Dead Boys,
Laurel Aitken,
The Shadows of Knight,
Sandy B,
Lower 48,
The West Coast Pop Art Experimental Band,
Darondo,
A Flock of Seagulls,
Kayak,
The Sisters of Mercy,
The Blackbyrds,
The Velvet Underground,
The Remains,
Livin' Joy,
Neil Young & Crazy Horse,
Pete Rock & C.L. Smooth,
Depeche Mode,
Gerry Rafferty,
Basic Channel,
Rakim,
the Germs,
Colin Newman,
Deepchord, Deepchord, Deepchord, Deepchord.
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.