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 Bahamas and from Cairo.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Woodstock and London.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Rapeman to the dance kids.
I played it at the Roxy.
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 Tubeway Army. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Sixth Finger 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
The Shadows of Knight,
Yazoo,
Blancmange,
B.T. Express,
Boogie Down Productions,
Arthur Verocai,
Robert Hood,
Avey Tare's Slasher Flicks,
Connie Case,
The Walker Brothers,
Susan Cadogan,
Agent Orange,
Sparks,
the Normal,
Rosa Yemen,
E-Dancer,
Royal Trux,
Roy Ayers,
Jawbox,
Morten Harket,
The Smoke,
Carl Craig,
Ponytail,
Ituana,
Charles Mingus,
Malaria!,
Eve St. Jones,
Al Stewart,
Ajijia Myrayebe,
The Misunderstood,
Stockholm Monsters,
Delon & Dalcan,
Monolake,
Y Pants,
Underground Resistance,
John Holt,
Gabor Szabo,
Soul II Soul,
Aural Exciters,
Gang Gang Dance,
Gang Starr,
The Stooges,
Avey Tare & Kría Brekkan,
JFA,
Public Enemy,
Fela Kuti,
Glenn Branca,
Colin Newman,
Marvin Gaye,
Brand Nubian,
The Slackers,
Aloha Tigers,
Das Ding,
Masters at Work,
The Fuzztones,
Soul Sonic Force,
Niagra,
DNA,
Dr. Dre and Snoop Doggy Dog,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.