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 Guinea and from Beijing.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 harpsichord 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 Glenn Branca to the grunge kids.
I played it at the Troubador.
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 Howard Jones. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Echo & the Bunnymen 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Nas,
the Slits,
Joy Division,
Faust,
Ultravox,
Richard Hell and the Voidoids,
Dave Gahan,
Andrew Ashong & Theo Parrish,
The Residents,
CMW,
Marmalade,
Bobby Sherman,
Danielle Patucci,
Eric B and Rakim,
Scott Walker,
The Five Americans,
Angry Samoans,
Louis and Bebe Barron,
Barrington Levy,
Crispian St. Peters,
The Wake,
Easy Going,
The Blues Magoos,
Neil Young & Crazy Horse,
Television Personalities,
Slick Rick,
Negative Approach,
Joe Finger,
The Buckinghams,
the Sonics,
Kauko Röyhkä ja Narttu,
Audionom,
Bang On A Can,
The Young Rascals,
Sexual Harrassment,
Curtis Mayfield,
Lou Reed & Metallica,
Echospace,
Wighnomy Brothers & Robag Wruhme,
Underground Resistance,
Pussy Galore,
Blossom Toes,
James White and The Blacks,
Stetsasonic,
Pantaleimon,
Sly & The Family Stone,
Brand Nubian,
The Happenings,
Can,
Radiohead,
Trumans Water,
A Certain Ratio,
Ultimate Spinach,
Infiniti,
Rufus Thomas,
Albert Ayler,
Neu!,
Mr. Review,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.