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 Sri Lanka and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Salvador and Winnipeg.
I'm losing my edge to the art-school Seoul 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Pantytec to the jazz kids.
I played it at the Astoria.
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 Slits. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every The Mighty Diamonds 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme 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?
Sister Nancy,
Dennis Brown,
Byron Stingily,
Rufus Thomas,
Sun Ra Arkestra,
Severed Heads,
Fatback Band,
Sight & Sound,
Ossler,
Qualms,
Fela Kuti,
Desert Stars,
Heavy D & The Boyz,
Moebius,
Eddi Front,
Maurizio,
The Index,
L. Decosne,
Adolescents,
Animal Collective,
New Order,
Maleditus Sound,
Cabaret Voltaire,
Marine Girls,
Bobbi Humphrey,
Country Teasers,
Eden Ahbez,
De La Soul & Jungle Brothers,
Sun City Girls,
Avey Tare,
Guru Guru,
Eurythmics,
Visage,
Steve Hackett,
Sam Rivers,
Teenage Jesus and the Jerks,
Rapeman,
Interpol,
Cymande,
Mission of Burma,
Todd Terry,
Nas,
The Golliwogs,
The Star Department,
Tears for Fears,
Freddie Wadling,
The Monks,
Groovy Waters,
Unrelated Segments,
New Age Steppers,
Sixth Finger,
Danielle Patucci,
Television,
Echo & the Bunnymen,
The Human League,
La Düsseldorf,
Surgeon,
Nils Olav,
The New Christs,
Archie Shepp,
Minny Pops,
The West Coast Pop Art Experimental Band,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.