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 Houston.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
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 clarinet 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 Vladislav Delay to the grunge kids.
I played it at the 40 Watt.
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 Wire. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Minutemen 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Blossom Toes,
Wighnomy Brothers & Robag Wruhme,
Ultimate Spinach,
Surgeon,
Morten Harket,
Nico,
Grey Daturas,
Oblivians,
Agitation Free,
Jeff Lynne,
Howard Jones,
Tubeway Army,
10cc,
The Martian,
Drexciya,
Marc Almond,
Art Ensemble Of Chicago,
Public Enemy,
The Flesh Eaters,
Harry Pussy,
Section 25,
The Men They Couldn't Hang,
Glambeats Corp.,
Piero Umiliani,
Bluetip,
The Monks,
CMW,
Steve Hackett,
Notorious BIG live in Amsterdam,
Agent Orange,
Fatback Band,
Lee Hazlewood,
Kenny Larkin,
Pantytec,
Freddie Wadling,
Fear,
Second Layer,
The Cosmic Jokers,
the Bar-Kays,
Dual Sessions,
Television Personalities,
Siglo XX,
Derrick May,
The Fall,
Thompson Twins,
John Foxx,
The Victims,
Drive Like Jehu,
a-ha,
The Pop Group,
The Cramps,
Kango’s Stein Massive,
Janne Schatter,
Maleditus Sound,
Mars,
F. McDonald,
Faust,
Motorama,
Sun Ra,
The Zeros,
Basic Channel,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.