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 United Kingdom and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Winnipeg and Lagos.
I'm losing my edge to the art-school Madrid 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 at the first Suicide practice in a loft in New York.
I was working on the mellotron 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 Dual Sessions to the techno 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 Organ. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins 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?
Ossler,
EPMD,
Angels of Light & Akron/Family,
the Germs,
Drive Like Jehu,
Lou Christie,
The Human League,
Arcadia,
Cabaret Voltaire,
Moss Icon,
Henry Cow,
John Holt,
Lucky Dragons,
Simply Red,
Throbbing Gristle,
The Young Rascals,
Sam Rivers,
the Association,
The Sisters of Mercy,
The Fuzztones,
Monks,
Neu!,
Shuggie Otis,
Moby Grape,
Alison Limerick,
Frankie Knuckles,
Crash Course in Science,
Jandek,
The Electric Prunes,
The Count Five,
Grey Daturas,
Deutsch Amerikanische Freundschaft,
Nico,
The Walker Brothers,
In Retrospect,
Aaron Thompson,
Lungfish,
Circle Jerks,
the Sonics,
The Happenings,
Soulsonic Force,
Curtis Mayfield,
UT,
Johnny Osbourne,
Nils Olav,
London Community Gospel Choir,
Peter Gordon & Love of Life Orchestra,
Matthew Bourne,
Basic Channel,
Terrestrial Tones,
Parry Music,
Index,
Ten City,
The American Breed,
Mars,
Joey Negro,
Major Organ And The Adding Machine,
Röyhkä ja Rättö ja Lehtisalo,
Icehouse,
Model 500,
The Fortunes,
Agitation Free,
Eurythmics,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.