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 Denmark and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 London Community Gospel Choir to the crunk kids.
I played it at Cafe Wha.
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 Delon & Dalcan. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Cluster 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Bush Tetras,
The Grass Roots,
Nick Fraelich,
Lizzy Mercier Descloux,
In Retrospect,
The Moleskins,
Aswad,
Little Man,
Fat Boys,
Slave,
Jeff Mills,
Ultimate Spinach,
The Walker Brothers,
Grandmaster Flash and the Furious Five,
the Slits,
cv313,
Bang on a Can All-Stars,
Glambeats Corp.,
Roy Ayers Ubiquity,
Nick Cave & The Bad Seeds,
Babytalk,
Cluster,
PIL,
Lou Reed & John Cale,
Byron Stingily,
Faraquet,
Albert Ayler,
Boz Scaggs,
Joe Smooth,
Magma,
Eric Dolphy,
Intrusion,
Monolake,
Funky Four + One,
It's A Beautiful Day,
Kayak,
Flash Fearless,
Gang of Four,
Easy Going,
The Knickerbockers,
Erykah Badu,
Eurythmics,
Jerry Gold Smith,
T. Rex,
The Victims,
Crispy Ambulance,
Pete Rock & C.L. Smooth,
Gastr Del Sol,
Q65,
A Certain Ratio,
Pharoah Sanders,
Girls At Our Best!,
Animal Collective,
the Soft Cell,
John Lydon,
The Slackers,
Super Lover Cee & Casanova Rud,
FM Einheit,
The Offenders,
Can,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.