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 Honduras and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school Toronto 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 Au Pairs to the dance kids.
I played it at the Crocodile.
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 Moby Grape. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Cecil Taylor 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Siouxsie and the Banshees,
Selector Dub Narcotic,
48th St. Collective,
The American Breed,
Spandau Ballet,
Banda Bassotti,
Vladislav Delay,
Bobby Sherman,
Model 500,
Lou Reed & John Cale,
Grandmaster Flash and the Furious Five,
Archie Shepp,
Jerry Gold Smith,
E-Dancer,
Flipper,
Jacob Miller,
Eli Mardock,
Jandek,
Erykah Badu,
Heaven 17,
Sarah Menescal,
Glenn Branca,
LL Cool J,
Lebanon Hanover,
The Pop Group,
Make Up,
Soul II Soul,
Eric Copeland,
OOIOO,
Suicide,
Dead Boys,
Bizarre Inc.,
Deadbeat,
Whodini,
Johnny Clarke,
Sandy B,
The Victims,
Kevin Saunderson,
Joe Smooth,
Basic Channel,
Q and Not U,
JFA,
Derrick Morgan,
The Sonics,
Grey Daturas,
Sound Behaviour,
David Axelrod,
Sister Nancy,
John Holt,
John Foxx,
Ludus,
Ultravox,
Alison Limerick,
Skriet,
Ronnie Foster,
Rhythim Is Rhythim,
The Doobie Brothers,
One Last Wish,
Symarip,
Sam Rivers,
The Slits, The Slits, The Slits, The Slits.
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.