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 Djibouti and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1977.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Bologna 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 David Bowie 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 John Lydon to the punk kids.
I played it at Cafe Wha.
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 Sunsets and Hearts. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Silicon Teens 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Lalann,
Eurythmics,
Echo & the Bunnymen,
Von Mondo,
Wire,
Mandrill,
Buzzcocks,
The Cramps,
The Durutti Column,
Das Ding,
Pere Ubu,
Yusef Lateef,
Spandau Ballet,
John Holt,
The Electric Prunes,
Faust,
48th St. Collective,
Sun City Girls,
Fat Boys,
Basic Channel,
Second Layer,
Youth Brigade,
Motorama,
Ossler,
Rites of Spring,
Electric Prunes,
Lou Christie,
Con Funk Shun,
Black Sheep,
Letta Mbulu,
Larry & the Blue Notes,
Marvin Gaye,
Essential Logic,
Gregory Isaacs,
Orchestral Manoeuvres in the Dark,
Arcadia,
Johnny Clarke,
Lindisfarne,
Unwound,
Black Pus,
Echospace,
The Vogues,
Patti Smith,
La Düsseldorf,
Grauzone,
MC5,
Art Ensemble Of Chicago,
Roxette,
Joe Finger,
The Black Dice,
Freddie Wadling,
Kurtis Blow,
Aswad,
It's A Beautiful Day,
Fear,
The Motions,
X-Ray Spex,
Theoretical Girls,
Blancmange,
Jesper Dahlbäck,
Underground Resistance,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.