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 Taiwan and from Accra.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Taipei 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 AZ to the funk 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 Nas. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
The Pop Group,
Little Man,
OOIOO,
Marshall Jefferson,
Jeru the Damaja,
Sticky Fingaz feat. Raekwon,
Drexciya,
Chris Corsano,
Fear,
The American Breed,
Swans,
The Wake,
Peter & Gordon,
Roxy Music,
Eli Mardock,
Agent Orange,
Al Stewart,
Smog,
Maurizio,
Piero Umiliani,
Supertramp,
Lyres,
Pulsallama,
Robert Hood,
New Age Steppers,
Technova,
Trumans Water,
Reagan Youth,
Super Lover Cee & Casanova Rud,
Eve St. Jones,
Organ,
Maleditus Sound,
Fugazi,
Tomorrow,
Art Ensemble Of Chicago,
Heavy D & The Boyz,
ABC,
Howard Jones,
Monks,
The Remains,
Lou Reed & Metallica,
DeepChord presents Echospace,
Ituana,
Franke,
Darondo,
Hashim,
The Five Americans,
Minutemen,
The Doobie Brothers,
Monolake,
Interpol,
Faust,
Black Sheep,
Lou Reed & John Cale,
Yellowson,
The Residents,
Gastr Del Sol,
Model 500,
Outsiders,
Ronnie Foster,
Fort Wilson Riot,
Crime, Crime, Crime, Crime.
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.