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 Malta and from Tokyo.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Houston 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 mellotron 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 Pere Ubu to the crunk kids.
I played it at the 40 Watt.
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 Cecil Taylor. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Selector Dub Narcotic,
Procol Harum,
June of 44,
Sarah Menescal,
John Coltrane,
Gang Starr,
Tres Demented,
A Certain Ratio,
Justin Hinds & The Dominoes,
Derrick May,
Popol Vuh,
the Bar-Kays,
The Cowsills,
Hoover,
Jeff Mills,
The Dead C,
Anthony Braxton,
Japan,
Tom Boy,
Gang Gang Dance,
Thompson Twins,
Electric Light Orchestra,
Donald Byrd,
B.T. Express,
Siglo XX,
Laurel Aitken,
Wighnomy Brothers & Robag Wruhme,
Oppenheimer Analysis,
The Raincoats,
Michelle Simonal,
The Red Krayola,
Excepter,
Royal Trux,
T. Rex,
Peter & Gordon,
Duran Duran,
Infiniti,
Model 500,
The Royal Family And The Poor,
Roy Ayers,
Lebanon Hanover,
The Litter,
the Germs,
The Techniques,
Oblivians,
Rufus Thomas,
Stetsasonic,
Bang on a Can All-Stars,
Drexciya,
Public Image Ltd.,
Bizarre Inc.,
Television,
Aswad,
Marc Almond,
Funky Four + One,
Bobby Hutcherson,
Junior Murvin,
Boogie Down Productions,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.