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 Serbia and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Seoul and Cairo.
I'm losing my edge to the art-school Edmonton 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 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 Khruangbin to the rock kids.
I played it at CBGB's.
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 Symarip. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes 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 Slits,
Sun Ra,
Soulsonic Force,
The Dead C,
Fluxion,
Joyce Sims,
Average White Band,
Sun Ra Arkestra,
Roxette,
R.M.O.,
Minny Pops,
DeepChord presents Echospace,
The Leaves,
The American Breed,
Excepter,
Sonny Sharrock,
Andrew Hill,
Bush Tetras,
Sister Nancy,
Khruangbin,
Anthony Braxton,
Monks,
the Slits,
Kurtis Blow,
Liaisons Dangereuses,
China Crisis,
CMW,
Animal Collective,
Peter Gordon & Love of Life Orchestra,
Wighnomy Brothers & Robag Wruhme,
Archie Shepp,
Andrew Ashong & Theo Parrish,
Ultravox,
The Electric Prunes,
Massinfluence,
Larry & the Blue Notes,
Warsaw,
K-Klass,
John Foxx,
Spoonie Gee,
A Flock of Seagulls,
Frankie Knuckles,
The Music Machine,
Harmonia,
Tres Demented,
Kool G Rap & DJ Polo,
The Fire Engines,
The Dirtbombs,
Japan,
Ponytail,
Red Lorry Yellow Lorry,
Goldenarms,
DNA,
Janne Schatter,
L. Decosne,
The Names,
Kool Moe Dee,
Juan Atkins,
48th St. Collective,
Dual Sessions,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.