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 Jordan and from Tokyo.
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 1974.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Bremen 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 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 Kings Of Tomorrow to the dance 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 Hashim. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every D'Angelo 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
The Durutti Column,
Steve Hackett,
The Velvet Underground,
Minor Threat,
Television,
Wire,
Kevin Saunderson,
Main Source,
The Kinks,
Ultra Naté,
Eve St. Jones,
Gil Scott-Heron & Brian Jackson,
The Angels of Light,
Eric Dolphy,
The Offenders,
Lee Hazlewood,
Bizarre Inc.,
Crime,
Glenn Branca,
Todd Rundgren,
Man Eating Sloth,
Nico,
Spoonie Gee,
Nick Fraelich,
Grauzone,
Japan,
Joe Finger,
The Sonics,
Ash Ra Tempel,
Flipper,
Hardrive,
Jacques Brel,
Heaven 17,
Morten Harket,
Boogie Down Productions,
Banda Bassotti,
Liaisons Dangereuses,
Rhythim Is Rhythim,
The Royal Family And The Poor,
DeepChord presents Echospace,
D'Angelo,
Kango’s Stein Massive,
New Age Steppers,
Panda Bear,
The Monks,
Los Fastidios,
Flamin' Groovies,
Roy Ayers Ubiquity,
Moebius,
Pharoah Sanders,
The Mummies,
Lizzy Mercier Descloux,
Scion,
Avey Tare,
Orchestral Manoeuvres in the Dark,
The Monochrome Set,
Grandmaster Flash and the Furious Five,
The West Coast Pop Art Experimental Band,
Thee Headcoats,
Bang On A Can,
Mars, Mars, Mars, Mars.
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.