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 Lesotho and from Lille.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Delhi and Mumbai.
I'm losing my edge to the art-school Lille 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Kas Product to the punk kids.
I played it at the 40 Watt.
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 Lightning Bolt. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Mars 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Intrusion,
The Fall,
Main Source,
Amon Düül II,
Kevin Saunderson,
Pete Rock & C.L. Smooth,
Moby Grape,
Man Eating Sloth,
Echospace,
R.M.O.,
The Star Department,
Notorious Big And Bone Thugs,
Audionom,
Vladislav Delay,
John Holt,
The Offenders,
L. Decosne,
Fat Boys,
Massinfluence,
Moebius,
Easy Going,
Ronnie Foster,
The Shadows of Knight,
Scott Walker,
Gregory Isaacs,
Eric Dolphy,
Mad Mike,
Thee Headcoats,
Ultravox,
Fifty Foot Hose,
Donald Byrd,
Blancmange,
Marmalade,
Gong,
Hardrive,
Lou Reed,
Metal Thangz,
Eli Mardock,
Charles Mingus,
The Peanut Butter Conspiracy,
The Wake,
Orchestral Manoeuvres in the Dark,
Talk Talk,
Lou Christie,
Fad Gadget,
Youth Brigade,
Radio Birdman,
Sound Behaviour,
De La Soul & Jungle Brothers,
This Heat,
8 Eyed Spy,
Quadrant,
Sparks,
Jeff Mills,
Terrestrial Tones,
K-Klass,
Gian Franco Pienzio,
The Cowsills,
The Black Dice,
The Cure, The Cure, The Cure, The Cure.
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.