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 Azerbaijan and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Shanghai.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare 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 Blackbyrds to the grime 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 Gil Scott Heron. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Mary Jane Girls,
James White and The Blacks,
Radiopuhelimet,
Neil Young,
the Swans,
Anakelly,
Mandrill,
Average White Band,
R.M.O.,
Rahsaan Roland Kirk,
Judy Mowatt,
Gang Starr,
Erasure,
The Peanut Butter Conspiracy,
Crash Course in Science,
Kool G Rap & DJ Polo,
Ronnie Foster,
Gang Green,
Peter Gordon & Love of Life Orchestra,
Ohio Players,
Cal Tjader,
FM Einheit,
Charles Mingus,
Stockholm Monsters,
The Tremeloes,
Glenn Branca,
Jeff Lynne,
UT,
Gastr Del Sol,
Royal Trux,
Procol Harum,
Black Pus,
Masters at Work,
The Motions,
Con Funk Shun,
Man Eating Sloth,
Wasted Youth,
Rowland S Howard / Lydia Lunch,
John Foxx,
The Dead C,
Toni Rubio,
Ten City,
Idris Muhammad,
Sun City Girls,
Scion,
Amazonics,
Strawberry Alarm Clock,
The Five Americans,
Morten Harket,
Minutemen,
Boogie Down Productions,
Vladislav Delay,
Magma,
Byron Stingily,
Jimmy McGriff,
Crooked Eye,
Kas Product,
Scan 7,
The Gories,
X-101,
Can,
Yellowson, Yellowson, Yellowson, Yellowson.
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.