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 Comoros and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Lyon and Columbus.
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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord 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 Juan Atkins to the grunge kids.
I played it at the Hacienda.
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 Lafayette Afro Rock Band. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
The Blackbyrds,
Dead Boys,
Dual Sessions,
Procol Harum,
Donald Byrd,
Major Organ And The Adding Machine,
The Jesus and Mary Chain,
Fatback Band,
The Raincoats,
Swans,
D'Angelo,
Pierre Henry,
Eli Mardock,
Avey Tare & Kría Brekkan,
Prince Buster,
Boz Scaggs,
Quadrant,
The Electric Prunes,
Röyhkä ja Rättö ja Lehtisalo,
Jimmy McGriff,
Wasted Youth,
The Detroit Cobras,
It's A Beautiful Day,
Heaven 17,
Warsaw,
The Stooges,
The Gap Band,
Absolute Body Control,
Graham Central Station,
Eddi Front,
Arcadia,
John Lydon,
Electric Light Orchestra,
Michelle Simonal,
The Invisible,
Altered Images,
The Birthday Party,
The Index,
Lou Christie,
Gil Scott Heron,
One Last Wish,
Unrelated Segments,
Tropical Tobacco,
Pantaleimon,
Super Lover Cee & Casanova Rud,
Chris Corsano,
Young Marble Giants,
The Knickerbockers,
Todd Rundgren,
Easy Going,
Grey Daturas,
Index,
Rotary Connection,
Frankie Knuckles,
De La Soul & Jungle Brothers,
Lucky Dragons,
Big Daddy Kane,
Stockholm Monsters,
DeepChord presents Echospace,
The Sound,
Orchestral Manoeuvres in the Dark,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.