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 Zambia and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Madrid and Columbus.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Michelle Simonal to the crunk 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 Bobby Byrd. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Slick Rick 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Roy Ayers Ubiquity,
Nation of Ulysses,
Kool G Rap & DJ Polo,
Strawberry Alarm Clock,
Avey Tare & Kría Brekkan,
Jacob Miller,
Bang on a Can All-Stars,
Tomorrow,
Mark Hollis,
Hashim,
Animal Collective,
Spandau Ballet,
Minutemen,
Toni Rubio,
Albert Ayler,
Slave,
Ludus,
The Black Dice,
Roxy Music,
The Angels of Light,
Robert Wyatt,
JFA,
Super Lover Cee & Casanova Rud,
Sister Nancy,
Ossler,
Banda Bassotti,
Lungfish,
A Flock of Seagulls,
Cameo,
Technova,
Kurtis Blow,
The Doors,
Y Pants,
The Young Rascals,
Minnie Riperton,
Davy DMX,
Cecil Taylor,
Al Stewart,
The Pretty Things,
David Bowie,
The Gap Band,
Infiniti,
Girls At Our Best!,
The Gun Club,
Funky Four + One,
KRS-One,
Ultramagnetic MC's,
Joey Negro,
Major Organ And The Adding Machine,
Sun Ra Arkestra,
Nirvana,
Cybotron,
Royal Trux,
Desert Stars,
Saccharine Trust,
Model 500,
the Soft Cell,
Crime,
Grandmaster Flash,
Amazonics,
Connie Case,
Simply Red,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.