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 Peru and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in New York and Halifax.
I'm losing my edge to the art-school Houston 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 güiro 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 Lebanon Hanover to the dance kids.
I played it at Cafe Wha.
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 Gang Starr. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Mantronix 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Andrew Hill,
Rakim,
Massinfluence,
Rosa Yemen,
Barrington Levy,
Blossom Toes,
Minutemen,
Todd Rundgren,
Interpol,
Gregory Isaacs,
Newcleus,
Eyeless In Gaza,
Agent Orange,
Fat Boys,
Ohio Players,
Duran Duran,
the Bar-Kays,
Simply Red,
Lou Reed & John Cale,
FM Einheit,
The Alarm Clocks,
Subhumans,
John Holt,
Cluster,
The Doors,
The Seeds,
Glenn Branca,
The Cure,
Alice Coltrane,
Aswad,
Make Up,
Reuben Wilson,
Bootsy Collins,
KRS-One,
Ralphi Rosario,
The Durutti Column,
Icehouse,
Terrestrial Tones,
Oppenheimer Analysis,
Al Stewart,
Neil Young & Crazy Horse,
Matthew Bourne,
Larry & the Blue Notes,
Unrelated Segments,
Flipper,
Can,
Lafayette Afro Rock Band,
The Mojo Men,
Mad Mike,
Cabaret Voltaire,
Selector Dub Narcotic,
Metal Thangz,
K-Klass,
Ultra Naté,
Wally Richardson,
The Neon Judgement,
Boogie Down Productions,
Stereo Dub,
Motorama,
Shuggie Otis,
Lightning Bolt,
Niagra, Niagra, Niagra, Niagra.
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.