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 Senegal and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Men They Couldn't Hang to the grunge kids.
I played it at the Spitz.
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 Gian Franco Pienzio. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal rock 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 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 Soulsonic Force record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Robert Görl,
Liliput,
The Victims,
Blake Baxter,
Lee Hazlewood,
The Vogues,
X-102,
Marc Romboy vs. Booka Shade,
Carl Craig,
Kango’s Stein Massive,
Sugar Minott,
The Litter,
Babytalk,
The Smiths,
B.T. Express,
Matthew Halsall,
Grandmaster Flash and the Furious Five,
DNA,
Erasure,
A Flock of Seagulls,
Bobby Sherman,
The Motions,
Echospace,
The Human League,
Donny Hathaway,
Sound Behaviour,
Mandrill,
Jesper Dahlbäck,
Interpol,
Glambeats Corp.,
Metal Thangz,
Oneida,
Alice Coltrane,
Bobby Byrd,
Massinfluence,
Davy DMX,
Anthony Braxton,
Drive Like Jehu,
Graham Central Station,
Can,
Pet Shop Boys,
Bobby Hutcherson,
Pagans,
The Residents,
June Days,
Crash Course in Science,
Rhythim Is Rhythim,
Hashim,
Peter & Gordon,
Public Enemy,
Lou Reed & John Cale,
DJ Sneak,
Bill Near,
Eyeless In Gaza,
Lalann,
10cc,
Heaven 17,
Don Cherry,
The Fugs,
The Sisters of Mercy,
the Association,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.