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 Romania and from Salvador.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Lagos and Bologna.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Lalann to the electroclash kids.
I played it at Trash.
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 Selector Dub Narcotic. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
the Fania All-Stars,
Animal Collective,
Pantaleimon,
Cal Tjader,
Lyres,
Minor Threat,
Banda Bassotti,
Marine Girls,
Pussy Galore,
The J.B.'s,
The Names,
Scott Walker,
The American Breed,
Delta 5,
The Blues Magoos,
Stockholm Monsters,
World's Most,
Wasted Youth,
Rakim,
The Martian,
Bluetip,
Gerry Rafferty,
H. Thieme,
The Dave Clark Five,
Pulsallama,
Nik Kershaw,
Thompson Twins,
The Move,
The Red Krayola,
Notorious BIG live in Amsterdam,
Average White Band,
Khruangbin,
Agitation Free,
Maleditus Sound,
Vainqueur,
Leonard Cohen,
Roger Hodgson,
Throbbing Gristle,
Urselle,
The Durutti Column,
Soft Machine,
Country Teasers,
Loose Ends,
Pere Ubu,
Harmonia,
The Velvet Underground,
Funkadelic,
Masters at Work,
Wings,
Ultra Naté,
Thinking Fellers Union Local 282,
Jacques Brel,
Sixth Finger,
Gian Franco Pienzio,
Underground Resistance,
Liliput,
The Happenings,
Big Daddy Kane,
Nick Cave & The Bad Seeds,
Barbara Tucker,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.