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 Tuvalu and from Sao Paulo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school Paris 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin 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 Dual Sessions to the techno 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 Jeru the Damaja. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Lou Reed & Metallica 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Inner City,
Bang on a Can All-Stars,
John Holt,
The Misunderstood,
AZ,
Johnny Osbourne,
ABBA,
Ajijia Myrayebe,
Agent Orange,
Don Cherry,
Rhythm & Sound,
Bobby Hutcherson,
Ultramagnetic MC's,
the Germs,
Goldenarms,
The Gories,
Easy Going,
Sarah Menescal,
Gichy Dan,
Super Lover Cee & Casanova Rud,
The Fire Engines,
Deadbeat,
cv313,
Angry Samoans,
Dorothy Ashby,
Siouxsie and the Banshees,
Andrew Ashong & Theo Parrish,
Gong,
The Doobie Brothers,
Mad Mike,
Nick Fraelich,
kango's stein massive,
Colin Newman,
The Modern Lovers,
Niagra,
Liaisons Dangereuses,
Dark Day,
The Victims,
Wire,
Gabor Szabo,
Jacob Miller,
E-Dancer,
Justin Hinds & The Dominoes,
Dawn Penn,
Kayak,
Sixth Finger,
Rhythim Is Rhythim,
Silicon Teens,
The Divine Comedy,
Bobby Byrd,
Quando Quango,
LL Cool J,
DJ Sneak,
Faust,
Manfred Mann's Earth Band,
Throbbing Gristle,
Monolake,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.