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 Switzerland and from Madrid.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
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 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 Ronnie Foster to the jazz kids.
I played it at the 40 Watt.
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 Barrington Levy. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
John Coltrane,
The Victims,
Harpers Bizarre,
The Star Department,
Bobbi Humphrey,
Outsiders,
Nas,
Lafayette Afro Rock Band,
Piero Umiliani,
Susan Cadogan,
Skaos,
Mark Hollis,
Roxette,
Mandrill,
Mantronix,
Maleditus Sound,
The Cowsills,
48th St. Collective,
Interpol,
Half Japanese,
Bang On A Can,
The Jesus and Mary Chain,
Larry & the Blue Notes,
Animal Collective,
Monks,
Lungfish,
X-101,
8 Eyed Spy,
De La Soul & Jungle Brothers,
Angels of Light & Akron/Family,
Sandy B,
Bootsy Collins,
Technova,
The Human League,
Eli Mardock,
Deakin,
Joensuu 1685,
Sun City Girls,
Ultimate Spinach,
Royal Trux,
Siouxsie and the Banshees,
Von Mondo,
The New Christs,
Pylon,
The United States of America,
Lakeside,
James White and The Blacks,
Neu!,
Y Pants,
Patti Smith,
Scan 7,
Agent Orange,
Grey Daturas,
Mary Jane Girls,
Stetsasonic,
The Seeds,
Vaughan Mason & Crew,
Popol Vuh,
Kerri Chandler,
Drexciya, Drexciya, Drexciya, Drexciya.
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.