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 Comoros and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Salvador and London.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet 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 Graham Central Station to the rock kids.
I played it at CBGB's.
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 Althea and Donna. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Curtis Mayfield,
The Doors,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pere Ubu,
Scion,
Danielle Patucci,
the Swans,
Deadbeat,
Roy Ayers Ubiquity,
Byron Stingily,
Eurythmics,
Jeru the Damaja,
Kaleidoscope,
Mark Hollis,
the Germs,
Unwound,
Ohio Players,
Sonic Youth,
Faust,
De La Soul & Jungle Brothers,
Quantec,
Lee Hazlewood,
Sam Rivers,
Röyhkä ja Rättö ja Lehtisalo,
Amazonics,
Marvin Gaye,
Pierre Henry,
Oneida,
Altered Images,
Little Man,
Half Japanese,
The Names,
Blossom Toes,
Scan 7,
The Real Kids,
Rosa Yemen,
The Royal Family And The Poor,
Mary Jane Girls,
Dawn Penn,
The Monochrome Set,
The Five Americans,
Joey Negro,
Ultravox,
Youth Brigade,
Ituana,
Popol Vuh,
Scratch Acid,
Stereo Dub,
James White and The Blacks,
Lungfish,
Whodini,
Piero Umiliani,
Rowland S Howard / Lydia Lunch,
Al Stewart,
Kas Product,
Skriet,
The Knickerbockers,
Sarah Menescal,
Sad Lovers and Giants,
Sight & Sound,
Tears for Fears,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.