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 Bulgaria and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Lille and Manchester.
I'm losing my edge to the art-school Jakarta 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 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 The Knickerbockers to the grime kids.
I played it at CBGB's.
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 Jeff Mills. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
CMW,
Kool G Rap & DJ Polo,
Kenny Larkin,
Main Source,
The Index,
The Durutti Column,
L. Decosne,
Crime,
Mad Mike,
Little Man,
Avey Tare's Slasher Flicks,
Gary Puckett & The Union Gap,
Gabor Szabo,
Suicide,
Electric Prunes,
Popol Vuh,
Strawberry Alarm Clock,
Crooked Eye,
Warren Ellis,
Slave,
Andrew Hill,
Electric Light Orchestra,
Archie Shepp,
The Doors,
Rapeman,
Nation of Ulysses,
The Techniques,
The Leaves,
OOIOO,
Fela Kuti,
Alphaville,
The J.B.'s,
Todd Rundgren,
Michelle Simonal,
Grauzone,
Monolake,
Dark Day,
8 Eyed Spy,
Kauko Röyhkä ja Narttu,
Bobby Womack,
The Knickerbockers,
Pagans,
Ohio Players,
Bob Dylan,
Godley & Creme,
The Toasters,
Jawbox,
The West Coast Pop Art Experimental Band,
Altered Images,
The Searchers,
Babytalk,
Kurtis Blow,
Brothers Johnson,
Rekid,
The United States of America,
Jesper Dahlback,
Black Flag,
Siouxsie and the Banshees,
Sarah Menescal,
Grandmaster Flash and the Furious Five,
Althea and Donna,
World's Most, World's Most, World's Most, World's Most.
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.