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 Suriname and from Columbus.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Toronto 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 dance kids.
I played it at the Astoria.
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 Drive Like Jehu. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Jeff Mills 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
The Standells,
Idris Muhammad,
Kaleidoscope,
Dark Day,
Pete Rock & C.L. Smooth,
E-Dancer,
Rhythim Is Rhythim,
Babytalk,
Bizarre Inc.,
Roxette,
Jawbox,
Negative Approach,
Rakim,
kango's stein massive,
Loose Ends,
Barry Ungar,
Carl Craig,
Rhythm & Sound,
Interpol,
The Kinks,
Make Up,
Young Marble Giants,
JFA,
Darondo,
Pantytec,
Sixth Finger,
The American Breed,
Ohio Players,
The Gladiators,
Prince Buster,
The Monochrome Set,
Jerry's Kids,
D'Angelo,
Blossom Toes,
Con Funk Shun,
Harry Pussy,
Minny Pops,
Liaisons Dangereuses,
Sunsets and Hearts,
Bobby Womack,
Television,
Drive Like Jehu,
Nik Kershaw,
Matthew Halsall,
Rotary Connection,
Lafayette Afro Rock Band,
Roy Ayers,
The Martian,
Tubeway Army,
Shuggie Otis,
Swans,
Quadrant,
Scion,
The Fall,
The Barracudas,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tim Buckley,
The Motions,
Bobby Sherman,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.