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 China and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1979.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 Josef K practice in a loft in Edinburgh.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Bush Tetras to the techno kids.
I played it at the Hacienda.
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 Althea and Donna. All the underground hits.
All Nico tracks. I heard you have a vinyl of every The Moleskins 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Anthony Braxton,
Unwound,
Leonard Cohen,
Von Mondo,
Amazonics,
Scratch Acid,
Howard Jones,
The Smiths,
Hardrive,
Cameo,
Thee Headcoats,
Minny Pops,
The Busters,
Radiopuhelimet,
the Normal,
Grandmaster Flash and the Furious Five,
Ice-T,
FM Einheit,
Whodini,
The Victims,
Y Pants,
Sun Ra Arkestra,
Yusef Lateef,
John Coltrane,
KRS-One,
the Slits,
Erasure,
L. Decosne,
Pierre Henry,
Cecil Taylor,
The Red Krayola,
Black Flag,
World's Most,
Accadde A,
Mark Hollis,
The Cosmic Jokers,
Country Teasers,
Brand Nubian,
Swell Maps,
The Invisible,
The American Breed,
Drive Like Jehu,
New Order,
Bill Near,
Kauko Röyhkä ja Narttu,
Wolf Eyes,
Soulsonic Force,
The Beau Brummels,
Silicon Teens,
Underground Resistance,
The West Coast Pop Art Experimental Band,
The Blackbyrds,
Roxette,
Brothers Johnson,
Man Parrish,
Interpol,
Organ,
Zero Boys,
Ash Ra Tempel,
Janne Schatter,
Moebius,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.