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 Kyrgyzstan and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 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 Piero Umiliani to the electroclash 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 The Techniques. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Bobby Byrd,
Man Parrish,
The Music Machine,
Aswad,
David Axelrod,
Lalo Schifrin,
Avey Tare & Kría Brekkan,
Newcleus,
Blossom Toes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kool G Rap & DJ Polo,
Model 500,
Todd Terry,
Bobby Womack,
The Offenders,
Fifty Foot Hose,
Mary Jane Girls,
Fugazi,
Kevin Saunderson,
David Bowie,
Parry Music,
Deakin,
The Fugs,
The Dead C,
Larry & the Blue Notes,
Janne Schatter,
Alison Limerick,
Marmalade,
Gerry Rafferty,
Mr. Review,
Terrestrial Tones,
Bob Dylan,
Main Source,
Siglo XX,
Shoche,
John Cale,
MC5,
The Gun Club,
UT,
Red Lorry Yellow Lorry,
Smog,
Barbara Tucker,
Eurythmics,
Grey Daturas,
The Slits,
The Monks,
E-Dancer,
Lee Hazlewood,
the Fania All-Stars,
Connie Case,
Danielle Patucci,
Rapeman,
The Black Dice,
Piero Umiliani,
The Mojo Men,
Tropical Tobacco,
The Mummies,
Index,
Dr. Dre and Snoop Doggy Dog,
Y Pants,
Drive Like Jehu,
K-Klass, K-Klass, K-Klass, K-Klass.
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.