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 Sudan and from Milan.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Siouxsie and the Banshees to the techno kids.
I played it at the Troubador.
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 Ossler. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Los Fastidios 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
The Residents,
Popol Vuh,
Public Image Ltd.,
the Normal,
Avey Tare & Kría Brekkan,
Deutsch Amerikanische Freundschaft,
Das Ding,
Blossom Toes,
Major Organ And The Adding Machine,
Nico,
The Men They Couldn't Hang,
Metal Thangz,
Tears for Fears,
Fear,
Soul II Soul,
Technova,
The Associates,
The Evens,
Yaz,
Suburban Knight,
Television,
The Trojans,
Gang of Four,
James Chance & The Contortions,
Patti Smith,
Ken Boothe,
the Soft Cell,
The Dead C,
Nick Fraelich,
F. McDonald,
Arab on Radar,
Nation of Ulysses,
Gabor Szabo,
Bang On A Can,
Aural Exciters,
The Selecter,
Man Eating Sloth,
Barbara Tucker,
Agitation Free,
Heavy D & The Boyz,
Lafayette Afro Rock Band,
June of 44,
James White and The Blacks,
The Fortunes,
DNA,
Cal Tjader,
Joyce Sims,
Dead Boys,
The Moleskins,
Sunsets and Hearts,
Dual Sessions,
Thinking Fellers Union Local 282,
Notorious BIG live in Amsterdam,
Underground Resistance,
Robert Wyatt,
Minor Threat,
Black Flag,
Neu!,
The Grass Roots,
The Count Five,
Zero Boys,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.