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 Cape Verde and from Lyon.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Lille 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 808 sounds with much patience.
I was there when Michael McDonald 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 Grandmaster Flash and the Furious Five to the techno kids.
I played it at the Hacienda.
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 KRS-One. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Au Pairs,
Sarah Menescal,
Ossler,
Moss Icon,
EPMD,
John Cale,
Echospace,
Sad Lovers and Giants,
The Moody Blues,
The Fuzztones,
Peter Gordon & Love of Life Orchestra,
Bauhaus,
Mad Mike,
Albert Ayler,
F. McDonald,
Pharoah Sanders,
The Fugs,
Unwound,
Scott Walker,
Minnie Riperton,
Gil Scott-Heron and Jamie xx,
Electric Prunes,
The Dirtbombs,
Delon & Dalcan,
Avey Tare,
Negative Approach,
The Standells,
The West Coast Pop Art Experimental Band,
Niagra,
This Heat,
The Smiths,
Boz Scaggs,
Black Moon,
Justin Hinds & The Dominoes,
The Sound,
Ituana,
Motorama,
Sixth Finger,
Magma,
Stiv Bators,
Be Bop Deluxe,
The Sisters of Mercy,
Wings,
Barry Ungar,
Altered Images,
the Germs,
A Flock of Seagulls,
Groovy Waters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Dead Boys,
Terrestrial Tones,
The Slackers,
Zapp,
The Misunderstood,
Gastr Del Sol,
Lindisfarne,
The Men They Couldn't Hang,
Country Teasers,
Johnny Osbourne,
Lizzy Mercier Descloux,
Archie Shepp,
X-102,
Minny Pops,
Section 25, Section 25, Section 25, Section 25.
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.