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 Sao Paulo.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
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 at the first Suicide practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Motorama to the dance 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 L. Decosne. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Cluster,
Rod Modell,
Desert Stars,
Wire,
Avey Tare,
Scott Walker,
Aaron Thompson,
Eric Dolphy,
Avey Tare's Slasher Flicks,
The Sound,
N.O.R.E. Featuring Pharrell,
Lightning Bolt,
X-101,
Strawberry Alarm Clock,
Stiv Bators,
Fad Gadget,
Scientists,
Magma,
June of 44,
The Young Rascals,
Althea and Donna,
The Wake,
Funky Four + One,
The Residents,
10cc,
John Holt,
New Age Steppers,
The New Christs,
Rosa Yemen,
Kango’s Stein Massive,
Intrusion,
Blancmange,
Peter & Gordon,
The Moody Blues,
Pantaleimon,
Lungfish,
The Kinks,
cv313,
Technova,
Rowland S Howard / Lydia Lunch,
Lower 48,
The Royal Family And The Poor,
Selector Dub Narcotic,
Gang of Four,
Thompson Twins,
Chris & Cosey,
Country Joe & The Fish,
Kings Of Tomorrow,
Pulsallama,
Half Japanese,
X-Ray Spex,
Big Daddy Kane,
D'Angelo,
Andrew Hill,
Rhythim Is Rhythim,
Stereo Dub,
Sällskapet,
Suicide,
The Motions,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.