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 Austria and from Spokane.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Spokane.
I'm losing my edge to the art-school Woodstock 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Scott Walker to the punk 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 Mary Jane Girls. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Rakim,
Deakin,
Drexciya,
Ornette Coleman,
Pete Rock & C.L. Smooth,
Fatback Band,
The Shadows of Knight,
Roy Ayers Ubiquity,
Oblivians,
Jerry's Kids,
Banda Bassotti,
Zero Boys,
JFA,
Be Bop Deluxe,
Suburban Knight,
8 Eyed Spy,
Beasts of Bourbon,
Joe Smooth,
Theoretical Girls,
Kayak,
Bluetip,
DJ Sneak,
Bauhaus,
David Axelrod,
Dorothy Ashby,
Metal Thangz,
the Swans,
Rhythm & Sound,
Quando Quango,
Sun City Girls,
Barbara Tucker,
Oppenheimer Analysis,
Man Eating Sloth,
The Divine Comedy,
Shuggie Otis,
The Pop Group,
Zapp,
The Saints,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Qualms,
Ralphi Rosario,
Model 500,
Glambeats Corp.,
Freddie Wadling,
Fifty Foot Hose,
Avey Tare,
The Remains,
Brass Construction,
Underground Resistance,
The Cowsills,
Lower 48,
The Residents,
Nas,
Grandmaster Flash,
Hashim,
Sun Ra Arkestra,
The Mighty Diamonds,
Albert Ayler,
Leonard Cohen,
The Happenings, The Happenings, The Happenings, The Happenings.
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.