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 Moldova and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Taipei 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin 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 Sight & Sound 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 Marc Romboy vs. Booka Shade. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal rap 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 a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Oblivians,
Brass Construction,
Hasil Adkins,
Subhumans,
Sixth Finger,
Cymande,
The Monks,
Make Up,
The Blackbyrds,
Bob Dylan,
New York Dolls,
Soulsonic Force,
T.S.O.L.,
Harpers Bizarre,
Cybotron,
The Electric Prunes,
Icehouse,
Thinking Fellers Union Local 282,
Ajijia Myrayebe,
June of 44,
The Residents,
Ituana,
Sad Lovers and Giants,
Procol Harum,
Ossler,
Easy Going,
The Neon Judgement,
Letta Mbulu,
Rites of Spring,
De La Soul & Jungle Brothers,
Jawbox,
The Fugs,
Matthew Halsall,
Don Cherry,
Q65,
Bang On A Can,
Deutsch Amerikanische Freundschaft,
Rod Modell,
Surgeon,
Jeff Mills,
Sexual Harrassment,
cv313,
Index,
The Vogues,
Dawn Penn,
The Count Five,
Andrew Ashong & Theo Parrish,
Audionom,
The Doobie Brothers,
the Human League,
Bootsy Collins,
Faraquet,
The Grass Roots,
Schoolly D,
JFA,
The Walker Brothers,
H. Thieme,
Bizarre Inc.,
The Smiths,
The Men They Couldn't Hang,
Sällskapet,
MDC, MDC, MDC, MDC.
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.