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 Marshall Islands and from Paris.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Bologna and Milan.
I'm losing my edge to the art-school Madrid 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 Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Bang on a Can All-Stars to the funk kids.
I played it at the Hacienda.
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 The Slits. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Con Funk Shun,
Wolf Eyes,
Kerri Chandler,
Agent Orange,
Charles Mingus,
Super Lover Cee & Casanova Rud,
Bobby Hutcherson,
The Evens,
The Litter,
Goldenarms,
Joensuu 1685,
Unrelated Segments,
Spoonie Gee,
Skaos,
Jawbox,
Aural Exciters,
Kings Of Tomorrow,
Gang of Four,
Eurythmics,
Yellowson,
The Young Rascals,
the Normal,
Judy Mowatt,
Duran Duran,
Suburban Knight,
Arcadia,
Minor Threat,
The Move,
Flipper,
Lalo Schifrin,
Oppenheimer Analysis,
Panda Bear,
Be Bop Deluxe,
the Association,
Gong,
Rites of Spring,
Gary Puckett & The Union Gap,
Jeru the Damaja,
Lightning Bolt,
The Saints,
Marine Girls,
Soft Machine,
The Mighty Diamonds,
Icehouse,
Intrusion,
Bad Manners,
The Gladiators,
Youth Brigade,
Byron Stingily,
Television Personalities,
H. Thieme,
Desert Stars,
Kayak,
The Barracudas,
Camberwell Now,
Kevin Saunderson,
Excepter,
Sex Pistols,
Chris & Cosey,
Little Man, Little Man, Little Man, Little Man.
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.