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 Serbia and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Paris and Mumbai.
I'm losing my edge to the art-school Portland 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb 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 Ultramagnetic MC's to the funk kids.
I played it at CBGB's.
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 Camberwell Now. All the underground hits.
All Faust tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth 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?
The Sisters of Mercy,
Drexciya,
Leonard Cohen,
The Gun Club,
Rapeman,
Boz Scaggs,
Audionom,
Mr. Review,
AZ,
Harmonia,
Sunsets and Hearts,
Newcleus,
X-101,
Sandy B,
Angry Samoans,
Arthur Verocai,
Avey Tare's Slasher Flicks,
Pussy Galore,
Cluster,
Organ,
The Fire Engines,
The Shadows of Knight,
R.M.O.,
Liaisons Dangereuses,
Ohio Players,
The American Breed,
Bob Dylan,
Scott Walker + Sunn O))),
Lee Hazlewood,
Groovy Waters,
Index,
Wally Richardson,
Q and Not U,
Kerri Chandler,
The Royal Family And The Poor,
Lower 48,
Peter Gordon & Love of Life Orchestra,
Super Lover Cee & Casanova Rud,
The Selecter,
Terry Callier,
Man Eating Sloth,
FM Einheit,
Sixth Finger,
Country Joe & The Fish,
The Offenders,
Susan Cadogan,
Black Sheep,
Underground Resistance,
The Move,
The Cosmic Jokers,
Livin' Joy,
Lyres,
Nation of Ulysses,
the Sonics,
China Crisis,
Don Cherry,
Camberwell Now,
Siglo XX,
Deutsch Amerikanische Freundschaft,
Godley & Creme,
These Immortal Souls,
Aural Exciters,
Cal Tjader,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.