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 Togo and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Columbus 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 mellotron 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 Porter Ricks to the techno kids.
I played it at Trash.
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 Fifty Foot Hose. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Janne Schatter,
MC5,
The Modern Lovers,
Amon Düül,
Sight & Sound,
Ultra Naté,
Kerrie Biddell,
Hasil Adkins,
Electric Light Orchestra,
Ultramagnetic MC's,
Bill Near,
Pharaoh Sanders and the Fire Engines,
Trumans Water,
Rites of Spring,
Teenage Jesus and the Jerks,
Intrusion,
Guru Guru,
Sexual Harrassment,
The Fugs,
CMW,
The Evens,
Accadde A,
Rod Modell,
The Names,
The Cramps,
Cal Tjader,
The Mighty Diamonds,
Yazoo,
Chris & Cosey,
Red Lorry Yellow Lorry,
Fear,
Ash Ra Tempel,
Young Marble Giants,
Porter Ricks,
The Sisters of Mercy,
De La Soul & Jungle Brothers,
La Düsseldorf,
Rapeman,
Throbbing Gristle,
Shuggie Otis,
Nils Olav,
Big Daddy Kane,
Tommy Roe,
Max Romeo,
Johnny Osbourne,
Deepchord,
Wolf Eyes,
Bootsy's Rubber Band,
Procol Harum,
Talk Talk,
Mantronix,
the Swans,
the Sonics,
Boredoms,
Bronski Beat,
K-Klass,
Alison Limerick,
a-ha,
Mission of Burma,
Bobby Hutcherson,
The Blues Magoos,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.