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 Korea South and from Paris.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Winnipeg 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 Wire practice in a loft in Watford.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Neu! to the electroclash kids.
I played it at Trash.
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 Faust. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen 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?
Sällskapet,
The Standells,
EPMD,
Lyres,
Big Daddy Kane,
F. McDonald,
Chrome,
Lower 48,
Isaac Hayes,
Country Teasers,
Dorothy Ashby,
The Modern Lovers,
Bob Dylan,
Sly & The Family Stone,
Barrington Levy,
Angry Samoans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
cv313,
AZ,
Black Bananas,
Matthew Halsall,
The Electric Prunes,
Arab on Radar,
Soft Cell,
U.S. Maple,
Second Layer,
The Invisible,
Black Flag,
Drexciya,
Rakim,
Avey Tare & Kría Brekkan,
Negative Approach,
Flipper,
Pete Rock & C.L. Smooth,
Michelle Simonal,
Stereo Dub,
Todd Terry,
The Seeds,
Popol Vuh,
The Kinks,
Harpers Bizarre,
Supertramp,
Crime,
Visionaries,LMNO, T- Love & Iriscience,
Bluetip,
Glambeats Corp.,
Kango’s Stein Massive,
Masters at Work,
Alice Coltrane,
The Moleskins,
Soul Sonic Force,
Talk Talk,
Skriet,
Sandy B,
The Chocolate Watch Band,
The Techniques,
the Association,
Aswad,
Maleditus Sound,
Subhumans,
Boredoms,
Patti Smith,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.