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 Mali and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
I'm losing my edge to the art-school Bologna 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 snare sounds with much patience.
I was there when Holger Czukay 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 Vladislav Delay to the disco kids.
I played it at CBGB's.
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 Eyeless In Gaza. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Joey Negro 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 '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Joensuu 1685,
The Raincoats,
Mr. Review,
The Toasters,
Vaughan Mason & Crew,
Jesper Dahlbäck,
Ultravox,
Major Organ And The Adding Machine,
Liaisons Dangereuses,
Franke,
The Durutti Column,
Unwound,
The Chocolate Watch Band,
Scratch Acid,
Darondo,
Television,
H. Thieme,
Tubeway Army,
F. McDonald,
Don Cherry,
Mantronix,
La Düsseldorf,
Sly & The Family Stone,
Derrick Morgan,
Roxette,
Sällskapet,
Donny Hathaway,
the Germs,
Depeche Mode,
Nik Kershaw,
Heaven 17,
Dennis Brown,
Faust,
Slave,
Kango’s Stein Massive,
The Velvet Underground,
Tom Boy,
Davy DMX,
The Index,
Prince Buster,
Eve St. Jones,
Marmalade,
The Gladiators,
Oblivians,
Easy Going,
Monks,
Andrew Hill,
Deepchord,
Motorama,
Technova,
Juan Atkins,
Vladislav Delay,
Yellowson,
Toni Rubio,
Unrelated Segments,
Kas Product,
Massinfluence,
The Dirtbombs,
The Doobie Brothers,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.