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 Cuba and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Lyon 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Terrestrial Tones to the jazz 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 Rapeman. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
Young Marble Giants,
Audionom,
Cecil Taylor,
Henry Cow,
Barrington Levy,
The Saints,
Kenny Larkin,
Wire,
Sound Behaviour,
L. Decosne,
Traffic Nightmare,
10cc,
Mad Mike,
Joensuu 1685,
Motorama,
Monks,
The Last Poets,
London Community Gospel Choir,
Rapeman,
Johnny Osbourne,
Visage,
Dave Gahan,
Pantaleimon,
Fela Kuti,
Swell Maps,
the Normal,
Nation of Ulysses,
Television Personalities,
KRS-One,
Procol Harum,
Section 25,
Don Cherry,
La Düsseldorf,
Stereo Dub,
Deakin,
Popol Vuh,
The Offenders,
The Moody Blues,
Peter Gordon & Love of Life Orchestra,
John Lydon,
Drexciya,
Bronski Beat,
Harry Pussy,
Ash Ra Tempel,
Gil Scott-Heron & Brian Jackson,
Aaron Thompson,
Fad Gadget,
Bill Near,
Terror Squad Feat. Camron,
Sun Ra Arkestra,
Marine Girls,
Moby Grape,
The Mojo Men,
Ajijia Myrayebe,
Howard Jones,
Urselle,
Sad Lovers and Giants,
DJ Sneak,
Tim Buckley,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.