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 Guinea-Bissau and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Sonic Youth to the punk 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 Rufus Thomas. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal techno 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 an organ and an oboe 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 marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
JFA,
Jeff Mills,
Bill Near,
The Saints,
Livin' Joy,
Jandek,
Soulsonic Force,
48th St. Collective,
Lou Christie,
Joyce Sims,
Mo-Dettes,
Sixth Finger,
Delon & Dalcan,
Agitation Free,
Peter and Kerry,
Avey Tare's Slasher Flicks,
Notorious Big And Bone Thugs,
Dr. Dre and Snoop Doggy Dog,
The Associates,
Hot Snakes,
The Searchers,
Icehouse,
Faust,
Underground Resistance,
The Barracudas,
Supertramp,
Albert Ayler,
Crash Course in Science,
Gary Puckett & The Union Gap,
The Invisible,
Motorama,
Altered Images,
Godley & Creme,
The Busters,
PIL,
Sad Lovers and Giants,
Scratch Acid,
Groovy Waters,
Glambeats Corp.,
Sandy B,
Kerrie Biddell,
Strawberry Alarm Clock,
EPMD,
Eric B and Rakim,
Sam Rivers,
Slave,
Pylon,
The Real Kids,
The Residents,
James Chance & The Contortions,
Gang of Four,
Terry Callier,
The Raincoats,
Drive Like Jehu,
Spoonie Gee,
Mr. Review,
Desert Stars,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.