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 Liberia and from Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 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 The Move to the jazz kids.
I played it at Cafe Wha.
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 Moby Grape. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every The Fall 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Andrew Ashong & Theo Parrish,
The Offenders,
Brass Construction,
The Fugs,
Curtis Mayfield,
Adolescents,
Gil Scott-Heron and Jamie xx,
Blossom Toes,
Agitation Free,
OOIOO,
Outsiders,
Ken Boothe,
Bush Tetras,
Cal Tjader,
Fifty Foot Hose,
Anakelly,
Gil Scott-Heron & Brian Jackson,
Lizzy Mercier Descloux,
It's A Beautiful Day,
Scott Walker,
Kool Moe Dee,
Crispian St. Peters,
Visage,
The Durutti Column,
Rahsaan Roland Kirk,
June of 44,
X-101,
Babytalk,
the Soft Cell,
The Doobie Brothers,
Moss Icon,
Frankie Knuckles,
Soft Machine,
Girls At Our Best!,
The New Christs,
The Men They Couldn't Hang,
Royal Trux,
Gil Scott Heron,
Warsaw,
The Mojo Men,
The Sonics,
Panda Bear,
Jeff Lynne,
JFA,
The Fortunes,
Loose Ends,
Quantec,
FM Einheit,
Model 500,
cv313,
Lou Reed & Metallica,
Lakeside,
Ice-T,
The Standells,
Idris Muhammad,
Fela Kuti,
Albert Ayler,
The Monochrome Set,
The United States of America,
Joe Smooth,
Neu!,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.