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 Luxembourg and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Bologna 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 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 Names to the electroclash 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 Lou Reed & Metallica. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every the Fania All-Stars 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
The Monks,
The Smiths,
Eve St. Jones,
Reuben Wilson,
Jeru the Damaja,
The Slackers,
Tim Buckley,
Newcleus,
Saccharine Trust,
The Busters,
Joe Smooth,
Q and Not U,
Deepchord,
Liaisons Dangereuses,
Tomorrow,
The Peanut Butter Conspiracy,
Bauhaus,
Sam Rivers,
Glenn Branca,
Man Eating Sloth,
Avey Tare's Slasher Flicks,
Joyce Sims,
kango's stein massive,
Public Image Ltd.,
The Selecter,
The Alarm Clocks,
Toni Rubio,
Letta Mbulu,
The Cosmic Jokers,
Sonic Youth,
Lonnie Liston Smith,
Radiohead,
Unrelated Segments,
Kas Product,
Mad Mike,
The Velvet Underground,
Ajijia Myrayebe,
Zapp,
the Normal,
Easy Going,
Von Mondo,
The Moleskins,
The Misunderstood,
Kango’s Stein Massive,
The Gap Band,
Albert Ayler,
Quando Quango,
London Community Gospel Choir,
The Moody Blues,
Rahsaan Roland Kirk,
Dead Boys,
The Doobie Brothers,
Chrome,
Gang Green,
Jesper Dahlback,
Selector Dub Narcotic,
The Gories,
The Five Americans,
The Leaves,
DeepChord presents Echospace,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.