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 Niger and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1971.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator 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 The Velvet Underground to the funk kids.
I played it at the Roxy.
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 Minor Threat. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Peter & Gordon 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Khruangbin,
The Neon Judgement,
DNA,
Sällskapet,
Eve St. Jones,
The Misunderstood,
Major Organ And The Adding Machine,
Rotary Connection,
Gil Scott Heron,
Outsiders,
Ten City,
The American Breed,
Interpol,
Tears for Fears,
Lebanon Hanover,
The Fuzztones,
Ronan,
Gil Scott-Heron and Jamie xx,
Graham Central Station,
Deadbeat,
Skarface,
Gang Starr,
KRS-One,
Unrelated Segments,
Quantec,
Scott Walker,
Public Enemy,
Grey Daturas,
Reagan Youth,
Juan Atkins,
Agent Orange,
Vladislav Delay,
kango's stein massive,
Nico,
Bush Tetras,
Hasil Adkins,
Second Layer,
Dr. Dre and Snoop Doggy Dog,
Notorious BIG live in Amsterdam,
Moss Icon,
Thompson Twins,
Depeche Mode,
T. Rex,
Ponytail,
Nils Olav,
Rosa Yemen,
Tropical Tobacco,
Barclay James Harvest,
Section 25,
Andrew Hill,
Von Mondo,
Ralphi Rosario,
Hardrive,
Ohio Players,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Whodini,
Animal Collective,
Rhythm & Sound,
Deakin,
The Move,
Surgeon,
New Order, New Order, New Order, New Order.
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.