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 Guyana and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Bremen and Shanghai.
I'm losing my edge to the art-school Madrid 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 Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 Kango’s Stein Massive to the techno 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 Ultra Naté. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
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 Interpol record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Eyeless In Gaza,
These Immortal Souls,
Joe Smooth,
Crooked Eye,
Eric Dolphy,
The Monochrome Set,
Andrew Hill,
The Leaves,
Davy DMX,
Quadrant,
The Knickerbockers,
Negative Approach,
Lizzy Mercier Descloux,
Dead Boys,
Brand Nubian,
Yaz,
Popol Vuh,
the Association,
Kauko Röyhkä ja Narttu,
Pussy Galore,
John Coltrane,
Lebanon Hanover,
Camron Feat. Memphis Bleek And Beenie Seigel,
Angry Samoans,
The Human League,
Gian Franco Pienzio,
The New Christs,
Charles Mingus,
kango's stein massive,
Bang on a Can All-Stars,
Jeru the Damaja,
Roy Ayers Ubiquity,
Tubeway Army,
Tears for Fears,
U.S. Maple,
Kayak,
Interpol,
Tom Boy,
Scan 7,
The Evens,
Neil Young & Crazy Horse,
Notorious BIG live in Amsterdam,
Simply Red,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oppenheimer Analysis,
Alton Ellis,
Sun Ra,
Eric B and Rakim,
Gang of Four,
Radio Birdman,
Frankie Knuckles,
The Gun Club,
Sarah Menescal,
Sex Pistols,
Sunsets and Hearts,
Neil Young,
Fugazi,
Swans,
Grandmaster Flash and the Furious Five,
Basic Channel,
Erasure, Erasure, Erasure, Erasure.
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.