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 Delhi.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Accra and Milan.
I'm losing my edge to the art-school Halifax 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 chamberlin 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 Jeff Mills to the disco 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 The Victims. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Subhumans,
Jawbox,
Lou Reed & John Cale,
The Blackbyrds,
Tears for Fears,
Terry Callier,
Altered Images,
AZ,
Mary Jane Girls,
PIL,
Hot Snakes,
The Saints,
Matthew Bourne,
The Smiths,
Crispy Ambulance,
Funkadelic,
Can,
Minnie Riperton,
Thinking Fellers Union Local 282,
Visage,
The Moleskins,
DNA,
John Holt,
Thompson Twins,
Minutemen,
Alice Coltrane,
Grauzone,
Masters at Work,
Black Pus,
Unwound,
Panda Bear,
Agent Orange,
Pylon,
The Durutti Column,
Intrusion,
Aural Exciters,
Suburban Knight,
Cecil Taylor,
Kool Moe Dee,
Dorothy Ashby,
Ossler,
Stiv Bators,
The Mojo Men,
Arthur Verocai,
L. Decosne,
Sound Behaviour,
The Gories,
Skaos,
The Invisible,
Matthew Halsall,
The Smoke,
Sonic Youth,
Jesper Dahlback,
Byron Stingily,
Dave Gahan,
Ohio Players,
Lalann,
Erasure,
Danielle Patucci,
The New Christs,
New York Dolls,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.