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 Equatorial Guinea and from Winnipeg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Tehran 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 linndrum 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 The Victims to the jazz 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 Erykah Badu. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sticky Fingaz feat. Raekwon record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Dennis Brown,
Tres Demented,
U.S. Maple,
Scan 7,
Ken Boothe,
Circle Jerks,
Kool G Rap & DJ Polo,
Jeru the Damaja,
De La Soul & Jungle Brothers,
Fela Kuti,
Alice Coltrane,
DeepChord presents Echospace,
The Monochrome Set,
Eric Dolphy,
Ossler,
Animal Collective,
Deutsch Amerikanische Freundschaft,
Roy Ayers Ubiquity,
Outsiders,
D'Angelo,
Shuggie Otis,
B.T. Express,
Avey Tare's Slasher Flicks,
Qualms,
The Blackbyrds,
Bob Dylan,
Cybotron,
Flamin' Groovies,
Mandrill,
Matthew Bourne,
Cameo,
The Gories,
The Skatalites,
Graham Central Station,
Magazine,
The Pop Group,
Sunsets and Hearts,
Connie Case,
James Chance & The Contortions,
Lucky Dragons,
Royal Trux,
Peter Gordon & Love of Life Orchestra,
Sun Ra Arkestra,
The Real Kids,
X-101,
The Modern Lovers,
The Sonics,
Andrew Ashong & Theo Parrish,
Boz Scaggs,
Gil Scott-Heron and Jamie xx,
Slick Rick,
Buzzcocks,
Monolake,
The Selecter,
Leonard Cohen,
Khruangbin,
Maleditus Sound,
Nas,
The Doors,
Kauko Röyhkä ja Narttu,
Ponytail,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.