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 Lebanon and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 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 a-ha to the electroclash kids.
I played it at the Troubador.
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 The Detroit Cobras. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Goldenarms 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Louis and Bebe Barron,
Television,
Chrome,
The Martian,
Y Pants,
The Gladiators,
Royal Trux,
Kauko Röyhkä ja Narttu,
Avey Tare's Slasher Flicks,
Jeru the Damaja,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tomorrow,
Zapp,
E-Dancer,
Schoolly D,
Magma,
Fatback Band,
Eurythmics,
The Stooges,
The Kinks,
Siglo XX,
Lizzy Mercier Descloux,
Magazine,
The Pop Group,
Country Teasers,
Charles Mingus,
The Fire Engines,
Animal Collective,
Pagans,
Bad Manners,
Bob Dylan,
John Coltrane,
Pole,
Avey Tare,
The Monks,
Gichy Dan,
Lou Reed & Metallica,
Radiohead,
a-ha,
Trumans Water,
Crispian St. Peters,
Justin Hinds & The Dominoes,
Public Image Ltd.,
Accadde A,
Ituana,
This Heat,
Boredoms,
The Trojans,
Neil Young & Crazy Horse,
Excepter,
Flipper,
cv313,
Tears for Fears,
Robert Görl,
Barry Ungar,
Franke,
Cameo,
The Count Five,
Heavy D & The Boyz,
Bang on a Can All-Stars,
Pantytec,
Moebius,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.