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 Romania and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Mumbai 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 güiro 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 Can to the techno 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 Brass Construction. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Girls At Our Best! 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 '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis 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?
Anakelly,
OOIOO,
Siouxsie and the Banshees,
The Jesus and Mary Chain,
Severed Heads,
Kerri Chandler,
Bang on a Can All-Stars,
Tom Boy,
The Real Kids,
Ornette Coleman,
Lakeside,
Joensuu 1685,
Orchestral Manoeuvres in the Dark,
Make Up,
The Misunderstood,
Terry Callier,
Boz Scaggs,
The Fuzztones,
Bobby Byrd,
Television,
Alison Limerick,
Max Romeo,
Clear Light,
Adolescents,
Oppenheimer Analysis,
Frankie Knuckles,
Dr. Dre and Snoop Doggy Dog,
Sparks,
Arthur Verocai,
The Detroit Cobras,
Funkadelic,
Rites of Spring,
Country Joe & The Fish,
The Alarm Clocks,
Byron Stingily,
In Retrospect,
EPMD,
Second Layer,
Cheater Slicks,
Blancmange,
Gerry Rafferty,
David Axelrod,
Bootsy's Rubber Band,
Dead Boys,
Reuben Wilson,
Au Pairs,
Outsiders,
Pierre Henry,
The Litter,
Liaisons Dangereuses,
The Dave Clark Five,
the Swans,
Notorious Big And Bone Thugs,
Rosa Yemen,
June Days,
The Chocolate Watch Band,
Eli Mardock,
Skarface,
Symarip,
Röyhkä ja Rättö ja Lehtisalo,
Cluster,
Swans, Swans, Swans, Swans.
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.