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 Malawi and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Toronto and Cairo.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the theremin 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 The Monochrome Set to the crunk kids.
I played it at the Roxy.
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 Dead Boys. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal rap 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Flipper,
Blossom Toes,
Absolute Body Control,
Infiniti,
The Monks,
Rufus Thomas,
Massinfluence,
New York Dolls,
Oneida,
Mark Hollis,
Johnny Clarke,
Schoolly D,
Sandy B,
The Toasters,
Stockholm Monsters,
This Heat,
Zapp,
Liaisons Dangereuses,
Reuben Wilson,
Masters at Work,
H. Thieme,
The Cowsills,
Ajijia Myrayebe,
The Tremeloes,
Pharaoh Sanders and the Fire Engines,
Lee Hazlewood,
Erasure,
Fort Wilson Riot,
Los Fastidios,
Bad Manners,
Sexual Harrassment,
Cecil Taylor,
Funky Four + One,
Susan Cadogan,
Grandmaster Flash,
The Victims,
Marc Almond,
Todd Rundgren,
The Techniques,
Joe Smooth,
Depeche Mode,
The Royal Family And The Poor,
These Immortal Souls,
The Modern Lovers,
Deutsch Amerikanische Freundschaft,
The Five Americans,
Peter Gordon & Love of Life Orchestra,
Hot Snakes,
The Human League,
Babytalk,
The Residents,
Slave,
Scan 7,
Junior Murvin,
Neu!,
cv313,
8 Eyed Spy,
Leonard Cohen,
Barbara Tucker,
Derrick Morgan,
Half Japanese,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.