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 Australia and from Houston.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Madrid.
I'm losing my edge to the art-school Portland 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 Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Glambeats Corp. to the crunk kids.
I played it at the Spitz.
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 Black Moon. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Skaos 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Beasts of Bourbon,
Eric Dolphy,
Nation of Ulysses,
Mars,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
David Bowie,
Kango’s Stein Massive,
the Normal,
These Immortal Souls,
Sällskapet,
Echo & the Bunnymen,
Roxette,
Panda Bear,
Big Daddy Kane,
Cabaret Voltaire,
The Gladiators,
Danielle Patucci,
London Community Gospel Choir,
Kerrie Biddell,
World's Most,
F. McDonald,
Boogie Down Productions,
The Wake,
R.M.O.,
X-101,
OOIOO,
Lalann,
Lindisfarne,
The Young Rascals,
Scott Walker,
Lucky Dragons,
Q65,
Los Fastidios,
Jandek,
A Flock of Seagulls,
Fluxion,
Lee Hazlewood,
Siouxsie and the Banshees,
Orchestral Manoeuvres in the Dark,
Joy Division,
Kaleidoscope,
The Shadows of Knight,
Brass Construction,
The Tremeloes,
Stereo Dub,
Crash Course in Science,
the Swans,
Main Source,
Leonard Cohen,
Ornette Coleman,
Pete Rock & C.L. Smooth,
KRS-One,
Heaven 17,
Scan 7,
The West Coast Pop Art Experimental Band,
Barclay James Harvest,
Agitation Free,
B.T. Express,
Brand Nubian,
New York Dolls,
Amazonics,
DNA, DNA, DNA, DNA.
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.