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 Belize and from Calgary.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Milan and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 Big Star practice in a loft in Memphis.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Terrestrial Tones to the electroclash 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 Robert Görl. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
This Heat,
Lalo Schifrin,
Radiopuhelimet,
Mo-Dettes,
Traffic Nightmare,
Goldenarms,
The Doobie Brothers,
The Flesh Eaters,
Letta Mbulu,
Loose Ends,
Morten Harket,
Cecil Taylor,
Gian Franco Pienzio,
Bronski Beat,
Tears for Fears,
Kerri Chandler,
Black Sheep,
Tom Boy,
Terry Callier,
Fat Boys,
Gerry Rafferty,
Public Enemy,
Lyres,
the Association,
John Coltrane,
Deepchord,
The Move,
Ten City,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bill Wells,
Captain Beefheart & His Magic Band,
Chris Corsano,
Isaac Hayes,
The Mojo Men,
T.S.O.L.,
the Slits,
The Techniques,
Newcleus,
Can,
DJ Style,
The Dead C,
Sarah Menescal,
Soul II Soul,
The Skatalites,
Rahsaan Roland Kirk,
Byron Stingily,
T. Rex,
Livin' Joy,
Derrick Morgan,
Deutsch Amerikanische Freundschaft,
Lou Reed & John Cale,
Eric Copeland,
Art Ensemble Of Chicago,
Das Ding,
PIL,
Deadbeat,
Marine Girls,
Sonny Sharrock,
Gong,
Niagra,
Ash Ra Tempel,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.