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 Suriname and from Lyon.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Nirvana to the dance kids.
I played it at the Astoria.
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 Art Ensemble Of Chicago. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every The Barracudas 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer 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?
Magma,
Cybotron,
The Durutti Column,
Matthew Halsall,
The Standells,
Patti Smith,
New York Dolls,
Boogie Down Productions,
Hashim,
London Community Gospel Choir,
Groovy Waters,
Deadbeat,
Rufus Thomas,
Half Japanese,
Ultimate Spinach,
Joe Finger,
The Walker Brothers,
EPMD,
Smog,
Pierre Henry,
AZ,
World's Most,
Panda Bear,
kango's stein massive,
Liaisons Dangereuses,
Procol Harum,
Joey Negro,
The Seeds,
Harry Pussy,
The Remains,
Television Personalities,
Adolescents,
OOIOO,
Monks,
Alton Ellis,
The Chocolate Watch Band,
Khruangbin,
Joy Division,
John Holt,
The Mummies,
The Sisters of Mercy,
Fela Kuti,
Y Pants,
Eve St. Jones,
the Soft Cell,
Fugazi,
The Associates,
Saccharine Trust,
Sam Rivers,
Quantec,
Swell Maps,
The New Christs,
Bootsy's Rubber Band,
Minny Pops,
Pantytec,
Newcleus,
Masters at Work,
Eurythmics,
Joensuu 1685,
The Index,
DJ Style,
Idris Muhammad,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.