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 Burundi and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Taipei and Glasgow.
I'm losing my edge to the art-school Portland 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 linndrum 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 June of 44 to the punk 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 Terrestrial Tones. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Deakin,
Mad Mike,
Flamin' Groovies,
the Association,
Pete Rock & C.L. Smooth,
June of 44,
The Fuzztones,
Eurythmics,
ABBA,
Kas Product,
Animal Collective,
Oppenheimer Analysis,
Electric Light Orchestra,
Heavy D & The Boyz,
OOIOO,
Black Sheep,
Sound Behaviour,
Cabaret Voltaire,
Q65,
Black Bananas,
Scion,
Unwound,
The Martian,
Sun Ra,
Swans,
Newcleus,
Outsiders,
Brass Construction,
Infiniti,
Subhumans,
The Birthday Party,
Ajijia Myrayebe,
Bauhaus,
Brand Nubian,
Dead Boys,
The Alarm Clocks,
Marcia Griffiths,
Pole,
Ludus,
Gerry Rafferty,
The Flesh Eaters,
Royal Trux,
Eyeless In Gaza,
Hasil Adkins,
Marine Girls,
Jerry Gold Smith,
Iggy Pop,
Funky Four + One,
The Black Dice,
Bootsy Collins,
E-Dancer,
Fela Kuti,
Second Layer,
Pantytec,
Dorothy Ashby,
Magma,
The Vogues,
Erasure,
LL Cool J,
Mantronix, Mantronix, Mantronix, Mantronix.
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.