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 Somalia and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Black Pus to the electroclash kids.
I played it at Trash.
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 Sixth Finger. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Bizarre Inc.,
Oppenheimer Analysis,
Alice Coltrane,
Sixth Finger,
Young Marble Giants,
Angry Samoans,
Severed Heads,
Lyres,
ABBA,
Thee Headcoats,
Electric Prunes,
June Days,
Joensuu 1685,
Dr. Dre and Snoop Doggy Dog,
Rhythm & Sound,
James Chance & The Contortions,
The Human League,
Lightning Bolt,
London Community Gospel Choir,
La Düsseldorf,
The Sisters of Mercy,
Guru Guru,
Magazine,
The Cowsills,
The J.B.'s,
Pantaleimon,
The Gun Club,
Con Funk Shun,
Big Daddy Kane,
Flipper,
Interpol,
Underground Resistance,
Sister Nancy,
Lucky Dragons,
Robert Wyatt,
Clear Light,
Subhumans,
Röyhkä ja Rättö ja Lehtisalo,
The Saints,
De La Soul & Jungle Brothers,
Jesper Dahlback,
The Knickerbockers,
Lakeside,
Little Man,
the Association,
The Names,
DJ Style,
Niagra,
Barclay James Harvest,
Pylon,
Blossom Toes,
Japan,
Franke,
Blancmange,
the Sonics,
The Angels of Light,
Rakim,
Gregory Isaacs,
Hoover,
Mission of Burma,
The Victims,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.