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 Algeria and from Copenhagen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Taipei and Portland.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Graham Central Station to the techno 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 Modern Lovers. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald 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?
Kayak,
Toni Rubio,
Ash Ra Tempel,
The Fuzztones,
Terry Callier,
X-Ray Spex,
The Music Machine,
Sparks,
Au Pairs,
Television,
Thee Headcoats,
KRS-One,
One Last Wish,
The Real Kids,
Bush Tetras,
Michelle Simonal,
Roy Ayers,
Gabor Szabo,
The Misunderstood,
L. Decosne,
Bang on a Can All-Stars,
Albert Ayler,
June Days,
Severed Heads,
Drexciya,
Sonny Sharrock,
Model 500,
The Buckinghams,
Girls At Our Best!,
Reagan Youth,
Popol Vuh,
Procol Harum,
Kauko Röyhkä ja Narttu,
Bootsy Collins,
Neu!,
Delon & Dalcan,
Gastr Del Sol,
Adolescents,
Darondo,
Cecil Taylor,
Jeff Lynne,
Porter Ricks,
Symarip,
Jeff Mills,
Pierre Henry,
Red Lorry Yellow Lorry,
The Angels of Light,
Negative Approach,
Q65,
Franke,
Eric B and Rakim,
the Soft Cell,
Alton Ellis,
Ajijia Myrayebe,
Wings,
Sad Lovers and Giants,
B.T. Express,
Connie Case,
Erasure,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.