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 Israel and from Lyon.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Calgary.
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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Pantytec to the dance kids.
I played it at the Hacienda.
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 The Selecter. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Scan 7 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
The Fugs,
Pharaoh Sanders and the Fire Engines,
Major Organ And The Adding Machine,
Matthew Bourne,
F. McDonald,
Mark Hollis,
The Searchers,
Bronski Beat,
Depeche Mode,
Gastr Del Sol,
Lungfish,
H. Thieme,
Michelle Simonal,
Sam Rivers,
De La Soul & Jungle Brothers,
Minor Threat,
Unrelated Segments,
Jawbox,
Lalann,
The Index,
James White and The Blacks,
Interpol,
Arab on Radar,
Jacob Miller,
Johnny Clarke,
Icehouse,
Pulsallama,
Arthur Verocai,
Bush Tetras,
Surgeon,
Scrapy,
Ultramagnetic MC's,
Oneida,
Bobby Hutcherson,
Shuggie Otis,
Bobbi Humphrey,
Bobby Byrd,
Art Ensemble Of Chicago,
Bauhaus,
Suicide,
Scion,
Eli Mardock,
Max Romeo,
Reagan Youth,
The Pop Group,
Second Layer,
Kas Product,
Terrestrial Tones,
Ten City,
Can,
John Holt,
A Flock of Seagulls,
Rahsaan Roland Kirk,
Make Up,
The Slits,
China Crisis,
Deepchord,
Ash Ra Tempel,
Oppenheimer Analysis,
Aloha Tigers,
cv313,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.