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 Iran and from Tehran.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1960 to 1973.
I'm losing my edge.
To all the kids in Lagos and Winnipeg.
I'm losing my edge to the art-school Toronto 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 Oblivians to the grime 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All Swans tracks. I heard you have a vinyl of every The Vogues 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
The Techniques,
Rowland S Howard / Lydia Lunch,
Arthur Verocai,
Matthew Halsall,
This Heat,
Rhythm & Sound,
Organ,
Alphaville,
Yusef Lateef,
Rahsaan Roland Kirk,
Hot Snakes,
Reuben Wilson,
Bill Wells,
Lyres,
The Kinks,
Pete Rock & C.L. Smooth,
Anthony Braxton,
Slave,
Average White Band,
Lungfish,
Dorothy Ashby,
D'Angelo,
LL Cool J,
Half Japanese,
Eli Mardock,
Delon & Dalcan,
Funkadelic,
Basic Channel,
Country Teasers,
Ralphi Rosario,
Tom Boy,
Hoover,
Oblivians,
Youth Brigade,
Faust,
Buzzcocks,
The Monks,
Brand Nubian,
Crime,
The Standells,
MC5,
Chrome,
Sugar Minott,
Oppenheimer Analysis,
Ohio Players,
David McCallum,
Circle Jerks,
Vaughan Mason & Crew,
The Knickerbockers,
Kas Product,
Johnny Osbourne,
Smog,
The Slits,
Jesper Dahlback,
the Germs,
The Last Poets,
K-Klass,
Sad Lovers and Giants,
Jerry Gold Smith,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.