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 Swaziland and from Sao Paulo.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Accra.
I'm losing my edge to the art-school Edmonton 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 Television to the dance kids.
I played it at Cafe Wha.
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 The Index. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a New Age Steppers record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Rotary Connection,
The New Christs,
The Slits,
Technova,
Janne Schatter,
London Community Gospel Choir,
Tres Demented,
The Dirtbombs,
Eli Mardock,
Marc Almond,
Bauhaus,
Juan Atkins,
Minutemen,
Supertramp,
Drexciya,
Barry Ungar,
The Index,
Colin Newman,
Be Bop Deluxe,
Fear,
Motorama,
Rhythim Is Rhythim,
Joyce Sims,
Stereo Dub,
Gastr Del Sol,
Adolescents,
The Litter,
Sad Lovers and Giants,
L. Decosne,
Bobby Hutcherson,
ABBA,
The Trojans,
Bang On A Can,
Fort Wilson Riot,
Hashim,
The West Coast Pop Art Experimental Band,
Suicide,
Liliput,
Roxy Music,
Sun Ra Arkestra,
In Retrospect,
Dawn Penn,
Malaria!,
Infiniti,
Ponytail,
Derrick Morgan,
Livin' Joy,
Lebanon Hanover,
The Red Krayola,
Blancmange,
Black Bananas,
The Flesh Eaters,
Animal Collective,
Anakelly,
Mark Hollis,
The Evens,
Donald Byrd,
Pole,
Scion,
Letta Mbulu,
Inner City,
The Doors, The Doors, The Doors, The Doors.
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.