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 Bangladesh and from Beijing.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Tehran and Delhi.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet 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 Camberwell Now to the funk 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 Rakim. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Marine Girls,
Thinking Fellers Union Local 282,
Curtis Mayfield,
Angels of Light & Akron/Family,
Terrestrial Tones,
F. McDonald,
Jeff Lynne,
Eddi Front,
Anthony Braxton,
Mission of Burma,
Yazoo,
the Germs,
The Angels of Light,
The Slackers,
OOIOO,
Reagan Youth,
Sällskapet,
Silicon Teens,
Idris Muhammad,
John Coltrane,
Black Sheep,
Loose Ends,
Sun Ra,
Bush Tetras,
Kayak,
Mark Hollis,
Nick Cave & The Bad Seeds,
Slave,
This Heat,
Au Pairs,
Derrick Morgan,
Minny Pops,
John Lydon,
Fifty Foot Hose,
Scion,
David McCallum,
Public Enemy,
Half Japanese,
Ash Ra Tempel,
DeepChord presents Echospace,
Kerrie Biddell,
The Beau Brummels,
Crime,
Urselle,
Arthur Verocai,
Oppenheimer Analysis,
Sparks,
Pierre Henry,
The Dead C,
The Fugs,
Stetsasonic,
Matthew Halsall,
The United States of America,
Fluxion,
Slick Rick,
Yaz,
Gary Puckett & The Union Gap,
Minnie Riperton,
The Techniques, The Techniques, The Techniques, The Techniques.
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.