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 Suriname 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 1972.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
I'm losing my edge to the art-school Columbus 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 Zapp practice in a loft in Hamilton.
I was working on the güiro 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 Sällskapet to the electroclash kids.
I played it at the Crocodile.
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 Mission of Burma. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Clear Light,
John Lydon,
The Black Dice,
Orchestral Manoeuvres in the Dark,
Crispian St. Peters,
Monolake,
Eddi Front,
Procol Harum,
Dorothy Ashby,
Pylon,
Section 25,
The Gories,
Nik Kershaw,
Avey Tare & Kría Brekkan,
John Coltrane,
Little Man,
Eurythmics,
Black Moon,
Lakeside,
The Fortunes,
Accadde A,
Echospace,
Urselle,
Leonard Cohen,
Jimmy McGriff,
Derrick May,
Gary Puckett & The Union Gap,
Susan Cadogan,
Louis and Bebe Barron,
New Order,
DJ Style,
Junior Murvin,
Colin Newman,
Scan 7,
Ponytail,
Sad Lovers and Giants,
Porter Ricks,
Todd Terry,
Major Organ And The Adding Machine,
Robert Wyatt,
The Zeros,
Spandau Ballet,
Hashim,
Alton Ellis,
The Remains,
Nils Olav,
Sunsets and Hearts,
Marine Girls,
Moebius,
The Sonics,
David McCallum,
Marc Romboy vs. Booka Shade,
This Heat,
Pere Ubu,
Juan Atkins,
The Velvet Underground,
Piero Umiliani,
Bobby Sherman,
Jeru the Damaja,
Bad Manners,
Donny Hathaway,
Maurizio, Maurizio, Maurizio, Maurizio.
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.