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 Turkmenistan and from Houston.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Milan 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Patti Smith to the funk kids.
I played it at the Astoria.
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 Pierre Henry. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Hot Snakes 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 a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Dark Day,
The Raincoats,
Black Moon,
Goldenarms,
The Remains,
Unrelated Segments,
Thompson Twins,
The Alarm Clocks,
Faust,
Rakim,
Andrew Hill,
Sam Rivers,
JFA,
Rhythim Is Rhythim,
Fear,
Traffic Nightmare,
Soulsonic Force,
Jawbox,
Neu!,
Pharoah Sanders,
Schoolly D,
Peter Gordon & Love of Life Orchestra,
Aaron Thompson,
Jeru the Damaja,
The Smiths,
The West Coast Pop Art Experimental Band,
D'Angelo,
The Doobie Brothers,
Major Organ And The Adding Machine,
Radio Birdman,
Kerri Chandler,
Sly & The Family Stone,
Malaria!,
Kas Product,
Soft Cell,
Henry Cow,
Rotary Connection,
John Cale,
The Smoke,
Slick Rick,
ABC,
Sixth Finger,
cv313,
Ossler,
Avey Tare,
The Men They Couldn't Hang,
The Saints,
Oblivians,
Bronski Beat,
Flipper,
Minor Threat,
Gil Scott Heron,
Gang Green,
The Knickerbockers,
Spoonie Gee,
The Music Machine,
Niagra,
Underground Resistance,
Deutsch Amerikanische Freundschaft,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.