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 South Sudan and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Tom Boy to the dance kids.
I played it at the Crocodile.
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 Moleskins. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every China Crisis 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Audionom,
Howard Jones,
Ornette Coleman,
Lebanon Hanover,
Joensuu 1685,
Moby Grape,
Nils Olav,
Agent Orange,
Big Daddy Kane,
Marcia Griffiths,
The Toasters,
Swans,
Vaughan Mason & Crew,
Delta 5,
the Swans,
AZ,
Flash Fearless,
London Community Gospel Choir,
Amon Düül II,
Robert Hood,
Eric Copeland,
Ultramagnetic MC's,
Alice Coltrane,
The Seeds,
The Moleskins,
Lou Reed & Metallica,
Lakeside,
The Fuzztones,
Harry Pussy,
the Bar-Kays,
Pantaleimon,
Scott Walker + Sunn O))),
Junior Murvin,
Spandau Ballet,
Rowland S Howard / Lydia Lunch,
Porter Ricks,
a-ha,
The Saints,
Graham Central Station,
Dual Sessions,
Bobby Sherman,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Glenn Branca,
The Electric Prunes,
Terrestrial Tones,
Barclay James Harvest,
This Heat,
Soft Machine,
Unrelated Segments,
KRS-One,
Ronan,
8 Eyed Spy,
Silicon Teens,
Funky Four + One,
John Holt,
Desert Stars,
Adolescents,
Interpol,
H. Thieme,
R.M.O.,
Heavy D & The Boyz,
The Remains, The Remains, The Remains, The Remains.
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.