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 Hungary and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1973.
I'm losing my edge.
To all the kids in Delhi and Lyon.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Tim Buckley to the grime kids.
I played it at the 40 Watt.
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 Idris Muhammad. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Girls At Our Best!,
Minutemen,
The Gladiators,
Lakeside,
Absolute Body Control,
Sad Lovers and Giants,
Wally Richardson,
Camberwell Now,
Gastr Del Sol,
L. Decosne,
Bootsy's Rubber Band,
Fluxion,
Jerry Gold Smith,
Shuggie Otis,
A Flock of Seagulls,
De La Soul & Jungle Brothers,
China Crisis,
Interpol,
The Standells,
Fort Wilson Riot,
Q65,
Harry Pussy,
the Bar-Kays,
Red Lorry Yellow Lorry,
James White and The Blacks,
Jesper Dahlbäck,
Suburban Knight,
Howard Jones,
Bang on a Can All-Stars,
Kas Product,
The American Breed,
Peter and Kerry,
Barrington Levy,
Rhythm & Sound,
Dennis Brown,
Sister Nancy,
Scrapy,
Faraquet,
It's A Beautiful Day,
Accadde A,
Lightning Bolt,
Tres Demented,
Freddie Wadling,
Radiohead,
The Slackers,
Michelle Simonal,
Stetsasonic,
Kayak,
Con Funk Shun,
Agent Orange,
Joensuu 1685,
Soul II Soul,
The Pretty Things,
Goldenarms,
Derrick Morgan,
Richard Hell and the Voidoids,
Stiv Bators,
UT,
the Swans, the Swans, the Swans, the Swans.
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.