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 Micronesia and from Milan.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Shanghai 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 organ 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 Amon Düül to the dance kids.
I played it at the 40 Watt.
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 X-101. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every La Düsseldorf 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Donald Byrd,
Roxette,
Man Parrish,
Lou Reed,
Surgeon,
Joyce Sims,
Curtis Mayfield,
Bizarre Inc.,
Todd Terry,
The Evens,
Gil Scott-Heron and Jamie xx,
Lebanon Hanover,
The Vogues,
OOIOO,
Black Bananas,
One Last Wish,
Tubeway Army,
The Offenders,
Roxy Music,
Tres Demented,
Con Funk Shun,
Colin Newman,
John Lydon,
a-ha,
kango's stein massive,
Crooked Eye,
The Leaves,
Symarip,
The Golliwogs,
Rapeman,
The Detroit Cobras,
The Wake,
The Cure,
Lyres,
Unwound,
Mary Jane Girls,
Theoretical Girls,
Los Fastidios,
Nirvana,
David Axelrod,
The Gories,
Deutsch Amerikanische Freundschaft,
Stetsasonic,
Jerry's Kids,
New York Dolls,
Neu!,
Peter & Gordon,
Blake Baxter,
Lungfish,
Rhythim Is Rhythim,
Gastr Del Sol,
Avey Tare's Slasher Flicks,
Terrestrial Tones,
Red Lorry Yellow Lorry,
Country Teasers,
Glambeats Corp.,
James White and The Blacks,
Patti Smith,
Ultravox,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.