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 Dominica and from Houston.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Taipei and Lagos.
I'm losing my edge to the art-school Salvador 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 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 The Move to the techno 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 Flash Fearless. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Lightning Bolt,
KRS-One,
Funky Four + One,
Gichy Dan,
Absolute Body Control,
MDC,
Camberwell Now,
John Foxx,
Lebanon Hanover,
Nick Fraelich,
Q and Not U,
Stockholm Monsters,
Sarah Menescal,
the Association,
Althea and Donna,
Lower 48,
The Moleskins,
The Litter,
Blake Baxter,
Amon Düül,
Ultramagnetic MC's,
It's A Beautiful Day,
The Alarm Clocks,
Whodini,
Motorama,
Rufus Thomas,
The Offenders,
Kayak,
The Skatalites,
Art Ensemble Of Chicago,
Dawn Penn,
Rod Modell,
Easy Going,
The Sonics,
The Vogues,
Von Mondo,
Cecil Taylor,
Deakin,
Das Ding,
Rekid,
Thompson Twins,
The Chocolate Watch Band,
Peter and Kerry,
Tropical Tobacco,
Louis and Bebe Barron,
Avey Tare's Slasher Flicks,
Lucky Dragons,
Godley & Creme,
Gang Starr,
Isaac Hayes,
Stetsasonic,
JFA,
Newcleus,
Mantronix,
Delon & Dalcan,
Thee Headcoats,
Khruangbin,
Ken Boothe,
Arthur Verocai,
Television,
Shoche,
U.S. Maple,
Liliput,
Ossler, Ossler, Ossler, Ossler.
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.