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 Marshall Islands and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Paris.
I'm losing my edge to the art-school Milan 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 linndrum 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 Wolf Eyes to the grunge 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 Loose Ends. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Fad Gadget,
Chris & Cosey,
Monks,
Echospace,
The New Christs,
Trumans Water,
Terrestrial Tones,
June Days,
Bad Manners,
Mary Jane Girls,
Fifty Foot Hose,
Gil Scott-Heron and Jamie xx,
Joy Division,
Bush Tetras,
Ken Boothe,
Ludus,
In Retrospect,
Brick,
The Human League,
Tomorrow,
Guru Guru,
Jeff Lynne,
Connie Case,
David Bowie,
Jeff Mills,
MDC,
R.M.O.,
Absolute Body Control,
Jacob Miller,
Das Ding,
Drive Like Jehu,
Danielle Patucci,
the Normal,
Unrelated Segments,
The Men They Couldn't Hang,
The Martian,
Rhythm & Sound,
Hoover,
Heavy D & The Boyz,
Symarip,
The Neon Judgement,
Mr. Review,
Chris Corsano,
the Bar-Kays,
Eddi Front,
Adolescents,
Roxette,
The Detroit Cobras,
Dead Boys,
Lou Reed & John Cale,
Moss Icon,
Man Parrish,
Gil Scott Heron,
Fluxion,
The Evens,
Blossom Toes,
Mo-Dettes,
New Age Steppers,
FM Einheit,
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.