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 Honduras and from Glasgow.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Aural Exciters to the grime 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 K-Klass. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
The Pop Group,
Peter & Gordon,
Tubeway Army,
Arab on Radar,
Surgeon,
It's A Beautiful Day,
Gerry Rafferty,
Yaz,
Mandrill,
Bauhaus,
The Neon Judgement,
Circle Jerks,
James White and The Blacks,
Los Fastidios,
Gil Scott Heron,
Metal Thangz,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gil Scott-Heron and Jamie xx,
Lebanon Hanover,
Matthew Halsall,
Kaleidoscope,
Traffic Nightmare,
Suburban Knight,
Siouxsie and the Banshees,
The Names,
Model 500,
Stiv Bators,
X-101,
The Martian,
Hardrive,
Lonnie Liston Smith,
Funkadelic,
Maurizio,
EPMD,
The Dirtbombs,
Japan,
The Birthday Party,
K-Klass,
Buzzcocks,
Avey Tare & Kría Brekkan,
Lindisfarne,
Dennis Brown,
the Human League,
the Bar-Kays,
Cheater Slicks,
Black Pus,
Sonny Sharrock,
John Cale,
Strawberry Alarm Clock,
Minutemen,
Gary Puckett & The Union Gap,
Drexciya,
Gabor Szabo,
Sexual Harrassment,
Cameo,
Scan 7,
Television,
Bobby Byrd,
Iggy Pop,
Carl Craig,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.