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 Namibia and from Johannesburg.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Lagos 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare 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 Country Teasers to the rap kids.
I played it at the Roxy.
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 Underground Resistance. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
The Jesus and Mary Chain,
Frankie Knuckles,
Drexciya,
Godley & Creme,
Fela Kuti,
Röyhkä ja Rättö ja Lehtisalo,
John Coltrane,
Minutemen,
Brothers Johnson,
Procol Harum,
New York Dolls,
The Last Poets,
Louis and Bebe Barron,
Ossler,
World's Most,
Donny Hathaway,
Larry & the Blue Notes,
Minor Threat,
Thee Headcoats,
Ultravox,
Selector Dub Narcotic,
Technova,
Crash Course in Science,
Rowland S Howard / Lydia Lunch,
Amon Düül II,
Peter & Gordon,
The Royal Family And The Poor,
Orchestral Manoeuvres in the Dark,
The Wake,
Lakeside,
The New Christs,
It's A Beautiful Day,
Blancmange,
The Fire Engines,
Blake Baxter,
Popol Vuh,
Dave Gahan,
Bobbi Humphrey,
the Soft Cell,
Terry Callier,
Lightning Bolt,
Wings,
Jandek,
The Pretty Things,
Boredoms,
Adolescents,
MC5,
Groovy Waters,
Bad Manners,
Sexual Harrassment,
The Walker Brothers,
Monolake,
Ponytail,
Suicide,
Anthony Braxton,
The Monochrome Set,
D'Angelo,
Eddi Front,
Moebius,
Soft Machine,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.