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 South Sudan and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Glasgow 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 arpeggiator 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 Ultramagnetic MC's to the crunk 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 John Holt. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
La Düsseldorf,
Radiopuhelimet,
Make Up,
Peter & Gordon,
Vaughan Mason & Crew,
Motorama,
Public Enemy,
Brand Nubian,
Robert Hood,
Television Personalities,
Yaz,
Sarah Menescal,
Reagan Youth,
Donald Byrd,
The Wake,
Sad Lovers and Giants,
Girls At Our Best!,
Barclay James Harvest,
Fifty Foot Hose,
Kool Moe Dee,
Alice Coltrane,
Lindisfarne,
Black Bananas,
James White and The Blacks,
Pagans,
Urselle,
Rhythm & Sound,
Thompson Twins,
Adolescents,
Fort Wilson Riot,
Infiniti,
The Angels of Light,
Das Ding,
Pylon,
Newcleus,
Arcadia,
Blake Baxter,
Fugazi,
Marvin Gaye,
Sun Ra,
Lebanon Hanover,
Nick Cave & The Bad Seeds,
Notorious Big And Bone Thugs,
Morten Harket,
Kevin Saunderson,
Subhumans,
Laurel Aitken,
Andrew Hill,
E-Dancer,
Mantronix,
Crash Course in Science,
Moss Icon,
MC5,
Soul Sonic Force,
Throbbing Gristle,
Pantytec,
Captain Beefheart & His Magic Band,
Charles Mingus,
The Cosmic Jokers,
the Fania All-Stars,
Clear Light,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.