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 Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Paris 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Chrome to the electroclash kids.
I played it at the Spitz.
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 Association. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 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 '60s 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 the Bar-Kays record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Inner City,
Sparks,
8 Eyed Spy,
The Buckinghams,
The Monks,
Donald Byrd,
Prince Buster,
Flash Fearless,
Josef K,
Selector Dub Narcotic,
Crispian St. Peters,
Deadbeat,
Boz Scaggs,
Can,
The Monochrome Set,
kango's stein massive,
Brand Nubian,
Sällskapet,
Don Cherry,
X-102,
Kayak,
Art Ensemble Of Chicago,
Wire,
Scion,
Alice Coltrane,
Bluetip,
DeepChord presents Echospace,
Dorothy Ashby,
Soulsonic Force,
Man Parrish,
Aloha Tigers,
Cabaret Voltaire,
The Motions,
Mo-Dettes,
The Durutti Column,
Gary Puckett & The Union Gap,
The Smiths,
Mandrill,
The Birthday Party,
Nick Cave & The Bad Seeds,
Arcadia,
Darondo,
Erykah Badu,
Accadde A,
The Sound,
Soft Cell,
Cheater Slicks,
Al Stewart,
The Cure,
The Last Poets,
Lou Christie,
Henry Cow,
John Lydon,
Whodini,
Pantaleimon,
The Jesus and Mary Chain,
Camberwell Now,
Symarip,
Rakim,
Wings,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.