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 Tonga and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Mumbai 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe 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 The Cowsills to the electroclash 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal grime 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 a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
the Association,
Gary Puckett & The Union Gap,
Ornette Coleman,
Henry Cow,
Avey Tare & Kría Brekkan,
Oppenheimer Analysis,
Guru Guru,
Tears for Fears,
Throbbing Gristle,
Nick Fraelich,
Ultimate Spinach,
Khruangbin,
Gregory Isaacs,
Matthew Halsall,
Faust,
The Litter,
Can,
A Flock of Seagulls,
Deepchord,
The Five Americans,
Blancmange,
Franke,
London Community Gospel Choir,
New Order,
Chris Corsano,
Andrew Hill,
Shoche,
The Remains,
Circle Jerks,
Panda Bear,
Q and Not U,
The Fire Engines,
Los Fastidios,
The Cosmic Jokers,
Davy DMX,
Das Ding,
Cluster,
Quando Quango,
Terrestrial Tones,
Albert Ayler,
Gang Starr,
Alison Limerick,
Joe Smooth,
Deakin,
Lou Christie,
Drive Like Jehu,
Sixth Finger,
Lebanon Hanover,
Super Lover Cee & Casanova Rud,
Lucky Dragons,
Silicon Teens,
kango's stein massive,
Drexciya,
Fear,
Traffic Nightmare,
Country Joe & The Fish,
Sister Nancy,
Minnie Riperton,
Livin' Joy,
The Gun Club,
Magma,
Notorious Big And Bone Thugs,
Zero Boys,
Faraquet, Faraquet, Faraquet, Faraquet.
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.