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 Suriname and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lyon and Paris.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 Stockholm Monsters to the funk kids.
I played it at the Troubador.
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 K-Klass. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Rites of Spring record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gary Puckett & The Union Gap record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
The Tremeloes,
Underground Resistance,
Infiniti,
Mr. Review,
Godley & Creme,
The Fortunes,
Vainqueur,
Tropical Tobacco,
New Order,
X-101,
The Leaves,
Siglo XX,
Thinking Fellers Union Local 282,
Smog,
Amon Düül II,
The Fire Engines,
Shoche,
Piero Umiliani,
The Star Department,
Kango’s Stein Massive,
The Slackers,
The Sisters of Mercy,
Marcia Griffiths,
Urselle,
The Techniques,
The Young Rascals,
Gil Scott-Heron & Brian Jackson,
Tommy Roe,
Black Moon,
Bobby Hutcherson,
John Foxx,
Kevin Saunderson,
Brothers Johnson,
Sandy B,
The Associates,
Lyres,
Niagra,
Red Lorry Yellow Lorry,
Chris Corsano,
Ajijia Myrayebe,
The New Christs,
Jesper Dahlbäck,
Howard Jones,
Pierre Henry,
Avey Tare & Kría Brekkan,
Pussy Galore,
The Modern Lovers,
Jeff Mills,
Qualms,
Throbbing Gristle,
Andrew Ashong & Theo Parrish,
Motorama,
MC5,
The Kinks,
Television Personalities,
Ten City,
Neu!,
Yellowson,
Depeche Mode,
Orchestral Manoeuvres in the Dark,
Delta 5,
Brick, Brick, Brick, Brick.
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.