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 Chile and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Tehran.
I'm losing my edge to the art-school Bologna 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ sounds with much patience.
I was there when Holger Czukay 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 Techniques to the techno 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 Rhythim Is Rhythim. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Lalo Schifrin record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Amon Düül,
Pantaleimon,
David Axelrod,
The Vogues,
Avey Tare,
The Skatalites,
John Foxx,
Eddi Front,
Grandmaster Flash,
CMW,
Nation of Ulysses,
Pylon,
Panda Bear,
Fifty Foot Hose,
Hasil Adkins,
Robert Hood,
Manfred Mann's Earth Band,
Jerry Gold Smith,
Eurythmics,
T. Rex,
Albert Ayler,
Graham Central Station,
Nils Olav,
Richard Hell and the Voidoids,
Alison Limerick,
Funky Four + One,
Joy Division,
Mary Jane Girls,
Prince Buster,
Fluxion,
Oblivians,
Barry Ungar,
Radiohead,
Massinfluence,
Electric Prunes,
James Chance & The Contortions,
Stereo Dub,
Big Daddy Kane,
The Leaves,
Arcadia,
Selector Dub Narcotic,
Lalann,
Jeru the Damaja,
Schoolly D,
Sandy B,
Monks,
Neu!,
London Community Gospel Choir,
Soft Machine,
FM Einheit,
The Flesh Eaters,
Reuben Wilson,
Outsiders,
Lizzy Mercier Descloux,
Fatback Band,
Neil Young & Crazy Horse,
Vainqueur,
Slave,
Gastr Del Sol,
Minor Threat,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.