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 Belarus and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Glasgow.
I'm losing my edge to the art-school Seoul 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 linndrum 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 Lee Hazlewood to the grime 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 Moebius. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every The Barracudas record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Public Enemy,
Crooked Eye,
the Normal,
Quantec,
Harpers Bizarre,
Traffic Nightmare,
Alison Limerick,
Nico,
The Red Krayola,
New Order,
James White and The Blacks,
T. Rex,
Fatback Band,
The Fuzztones,
Rites of Spring,
The Electric Prunes,
Main Source,
Darondo,
Matthew Bourne,
Sly & The Family Stone,
Joe Finger,
Deepchord,
MDC,
Jacob Miller,
Connie Case,
Wally Richardson,
R.M.O.,
Ludus,
Sad Lovers and Giants,
The Searchers,
Terror Squad Feat. Camron,
Funky Four + One,
Con Funk Shun,
The Evens,
The Buckinghams,
Big Daddy Kane,
Spandau Ballet,
Laurel Aitken,
Charles Mingus,
The Doobie Brothers,
The Cowsills,
Lalo Schifrin,
Junior Murvin,
Angels of Light & Akron/Family,
Juan Atkins,
Nils Olav,
Janne Schatter,
Peter Gordon & Love of Life Orchestra,
Deakin,
Selector Dub Narcotic,
Larry & the Blue Notes,
Swans,
Minor Threat,
Andrew Hill,
Lakeside,
Deutsch Amerikanische Freundschaft,
Eric B and Rakim,
Skriet,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.