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 Nepal and from Mumbai.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
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 spring reverb 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 Glenn Branca to the punk 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 Can. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Thinking Fellers Union Local 282,
The Move,
Fort Wilson Riot,
Barbara Tucker,
Bootsy's Rubber Band,
World's Most,
Neil Young & Crazy Horse,
Popol Vuh,
Laurel Aitken,
Selector Dub Narcotic,
Drexciya,
Donald Byrd,
Mary Jane Girls,
Gil Scott-Heron & Brian Jackson,
Art Ensemble Of Chicago,
June Days,
Richard Hell and the Voidoids,
The Victims,
June of 44,
The Peanut Butter Conspiracy,
The Electric Prunes,
Yaz,
Parry Music,
Camouflage,
Orchestral Manoeuvres in the Dark,
Eve St. Jones,
Crispian St. Peters,
Alison Limerick,
Kerri Chandler,
Kenny Larkin,
Alphaville,
Mars,
Electric Light Orchestra,
Royal Trux,
Sarah Menescal,
Soulsonic Force,
Aloha Tigers,
Be Bop Deluxe,
Aaron Thompson,
the Human League,
Ultravox,
PIL,
MC5,
Main Source,
Tropical Tobacco,
New Age Steppers,
Bill Near,
The Motions,
Eden Ahbez,
Youth Brigade,
Radiohead,
Wings,
Brand Nubian,
Neu!,
Sunsets and Hearts,
the Bar-Kays,
Terry Callier,
Eric Dolphy,
Boogie Down Productions,
Junior Murvin,
Joey Negro,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.