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 Korea South and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school London 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Pulsallama to the crunk 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 Davy DMX. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal crunk 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Soul II Soul,
Letta Mbulu,
The Flesh Eaters,
La Düsseldorf,
Bill Near,
Con Funk Shun,
Judy Mowatt,
Peter and Kerry,
China Crisis,
The Fuzztones,
Spandau Ballet,
Boredoms,
Country Teasers,
the Slits,
Harmonia,
Kerri Chandler,
World's Most,
Liaisons Dangereuses,
Lou Reed,
Stockholm Monsters,
Peter & Gordon,
Jandek,
Warsaw,
Lucky Dragons,
Alison Limerick,
De La Soul & Jungle Brothers,
The Mummies,
Sun Ra Arkestra,
Mad Mike,
Chris & Cosey,
Rhythim Is Rhythim,
Eric Copeland,
Pantaleimon,
Quadrant,
Oppenheimer Analysis,
The Electric Prunes,
Can,
Severed Heads,
Sight & Sound,
Henry Cow,
The Motions,
Davy DMX,
Yusef Lateef,
Gang Gang Dance,
Art Ensemble Of Chicago,
Delon & Dalcan,
Scott Walker + Sunn O))),
Byron Stingily,
Rites of Spring,
Pierre Henry,
Adolescents,
Thee Headcoats,
Matthew Halsall,
The Chocolate Watch Band,
Jeru the Damaja,
Country Joe & The Fish,
Minutemen,
Rahsaan Roland Kirk,
Kurtis Blow,
Sonny Sharrock,
KRS-One,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.