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 Switzerland and from Toronto.
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 Milan and New York.
I'm losing my edge to the art-school Tehran 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Quadrant to the rap 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 Erykah Badu. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Fear 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Eli Mardock,
Sugar Minott,
Anakelly,
Main Source,
The Mighty Diamonds,
Stiv Bators,
Lalann,
Ossler,
Mad Mike,
The Sisters of Mercy,
Lalo Schifrin,
Los Fastidios,
Popol Vuh,
Minnie Riperton,
Mary Jane Girls,
Siouxsie and the Banshees,
Robert Görl,
The Music Machine,
the Sonics,
Joey Negro,
Ash Ra Tempel,
The Chocolate Watch Band,
the Soft Cell,
Rotary Connection,
Radio Birdman,
The Seeds,
Monolake,
These Immortal Souls,
Unrelated Segments,
Warren Ellis,
Outsiders,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mandrill,
Big Daddy Kane,
Crispian St. Peters,
Brick,
Thinking Fellers Union Local 282,
AZ,
Amazonics,
Lower 48,
Soul Sonic Force,
Fear,
Bang On A Can,
U.S. Maple,
Quando Quango,
Marc Romboy vs. Booka Shade,
Derrick May,
The Gap Band,
Gian Franco Pienzio,
Saccharine Trust,
Silicon Teens,
Sandy B,
Avey Tare's Slasher Flicks,
F. McDonald,
Skriet,
Sad Lovers and Giants,
X-101,
Fifty Foot Hose,
The Invisible,
Cheater Slicks,
Hasil Adkins,
Orchestral Manoeuvres in the Dark,
Oneida,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.