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 Cyprus and from Stockholm.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Lagos and Delhi.
I'm losing my edge to the art-school Delhi 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 Todd Terry to the grunge kids.
I played it at the Spitz.
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 Scott Walker. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
T. Rex,
Neil Young,
EPMD,
The Grass Roots,
Public Enemy,
Terry Callier,
Tres Demented,
B.T. Express,
Y Pants,
Donny Hathaway,
The Remains,
Godley & Creme,
JFA,
Juan Atkins,
Marine Girls,
Faust,
Soulsonic Force,
The Pop Group,
Junior Murvin,
Mantronix,
Wally Richardson,
DJ Style,
Liliput,
Susan Cadogan,
Gang Gang Dance,
Gil Scott-Heron and Jamie xx,
Rufus Thomas,
Eric Copeland,
Hasil Adkins,
The Chocolate Watch Band,
Hashim,
Glambeats Corp.,
The Techniques,
Big Daddy Kane,
Pylon,
Electric Light Orchestra,
Sarah Menescal,
Ultravox,
Isaac Hayes,
Joe Finger,
Monolake,
Graham Central Station,
Nik Kershaw,
Deutsch Amerikanische Freundschaft,
MC5,
Infiniti,
The J.B.'s,
Agent Orange,
Traffic Nightmare,
Gastr Del Sol,
Radiopuhelimet,
Nils Olav,
Idris Muhammad,
Bronski Beat,
Underground Resistance,
Gang Starr,
Eyeless In Gaza,
The Five Americans,
John Cale,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.