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 Tanzania and from Philadelphia.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Tehran.
I'm losing my edge to the art-school Woodstock 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron 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 Accadde A to the rock kids.
I played it at the Troubador.
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 Fatback Band. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a DJ Sneak record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Steve Hackett,
Gian Franco Pienzio,
Sex Pistols,
Grandmaster Flash,
Eric Dolphy,
Con Funk Shun,
Joyce Sims,
Soft Machine,
The Durutti Column,
Cameo,
Animal Collective,
Aswad,
Gong,
The Cowsills,
Loose Ends,
John Holt,
DJ Style,
Nick Fraelich,
Lou Reed,
Gil Scott Heron,
Fear,
Patti Smith,
Agitation Free,
Shuggie Otis,
Bronski Beat,
China Crisis,
Thompson Twins,
Louis and Bebe Barron,
Faust,
Ornette Coleman,
Barrington Levy,
JFA,
Eric B and Rakim,
The Velvet Underground,
The Victims,
Jacques Brel,
the Slits,
Sunsets and Hearts,
Rosa Yemen,
Sister Nancy,
Tubeway Army,
Motorama,
Visage,
Absolute Body Control,
Underground Resistance,
Youth Brigade,
Moss Icon,
Eve St. Jones,
La Düsseldorf,
E-Dancer,
Tom Boy,
Crispian St. Peters,
Spandau Ballet,
Unwound,
Flipper,
Avey Tare & Kría Brekkan,
Alton Ellis,
Magma,
Subhumans,
The Count Five,
John Coltrane,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.