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 Liberia and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in New York and Milan.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 Kurtis Blow to the punk kids.
I played it at the Astoria.
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 Little Man. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
The Index,
Man Eating Sloth,
Hoover,
Flash Fearless,
Bobbi Humphrey,
Minutemen,
The Count Five,
Roxette,
U.S. Maple,
Dawn Penn,
Marine Girls,
The Trojans,
Peter and Kerry,
Make Up,
Flamin' Groovies,
Prince Buster,
Amon Düül,
Connie Case,
Donald Byrd,
Procol Harum,
Mary Jane Girls,
Ronnie Foster,
Blancmange,
Nation of Ulysses,
Shoche,
Stiv Bators,
Marcia Griffiths,
Tomorrow,
the Sonics,
Michelle Simonal,
Rosa Yemen,
Quando Quango,
Basic Channel,
H. Thieme,
Massinfluence,
AZ,
Sunsets and Hearts,
Fifty Foot Hose,
Byron Stingily,
Porter Ricks,
Louis and Bebe Barron,
The Invisible,
Reagan Youth,
The Cure,
Rod Modell,
The Dead C,
K-Klass,
The Kinks,
Thompson Twins,
Idris Muhammad,
The Gories,
Erasure,
The Real Kids,
Neil Young & Crazy Horse,
Masters at Work,
Tubeway Army,
Nils Olav,
Orchestral Manoeuvres in the Dark,
Nick Fraelich,
The Standells,
Chris Corsano,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.