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 Cameroon and from Beijing.
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 1978.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Tehran 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 marimba 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 Hashim to the electroclash kids.
I played it at the Crocodile.
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 The Sound. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Ornette Coleman,
Bang On A Can,
Oneida,
Charles Mingus,
The Raincoats,
Rapeman,
Deutsch Amerikanische Freundschaft,
Janne Schatter,
The Mummies,
The Skatalites,
Second Layer,
Buzzcocks,
the Bar-Kays,
June of 44,
D'Angelo,
Kurtis Blow,
Gabor Szabo,
The Detroit Cobras,
Underground Resistance,
Gang Gang Dance,
Lizzy Mercier Descloux,
Curtis Mayfield,
Khruangbin,
kango's stein massive,
The American Breed,
Johnny Osbourne,
Pierre Henry,
Procol Harum,
Goldenarms,
The Victims,
Bronski Beat,
The Litter,
Gary Puckett & The Union Gap,
Neu!,
Joyce Sims,
Moss Icon,
The Techniques,
Fear,
The Pop Group,
Lee Hazlewood,
The United States of America,
The Moody Blues,
Joensuu 1685,
The Dirtbombs,
Orchestral Manoeuvres in the Dark,
Q65,
The Birthday Party,
Supertramp,
Boredoms,
Rosa Yemen,
Youth Brigade,
The Fall,
Harpers Bizarre,
Infiniti,
ABC,
Groovy Waters,
PIL,
Vaughan Mason & Crew,
Cal Tjader,
Shoche,
New Order,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.