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 Djibouti and from Tehran.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Columbus and Lille.
I'm losing my edge to the art-school New York 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb 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 Faust to the funk kids.
I played it at the Crocodile.
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 DNA. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal punk 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 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Kool Moe Dee,
Rowland S Howard / Lydia Lunch,
Underground Resistance,
Graham Central Station,
Super Lover Cee & Casanova Rud,
Moby Grape,
Wally Richardson,
Fear,
Lafayette Afro Rock Band,
Television Personalities,
The Selecter,
The Alarm Clocks,
Major Organ And The Adding Machine,
Manfred Mann's Earth Band,
Yellowson,
Dawn Penn,
Be Bop Deluxe,
The Pretty Things,
The Remains,
The Velvet Underground,
Spoonie Gee,
The Seeds,
the Swans,
Hasil Adkins,
Camouflage,
FM Einheit,
Wolf Eyes,
The Red Krayola,
Skarface,
Von Mondo,
Bang On A Can,
Schoolly D,
New Order,
The Associates,
Grauzone,
Kas Product,
Angels of Light & Akron/Family,
Swell Maps,
Soft Machine,
Dennis Brown,
R.M.O.,
Ituana,
Siglo XX,
The Birthday Party,
Unrelated Segments,
ABC,
Quando Quango,
MDC,
Massinfluence,
The Divine Comedy,
Alice Coltrane,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sun City Girls,
Fluxion,
Nils Olav,
Moebius,
Sun Ra,
The Leaves,
Model 500,
Ultravox,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.