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 South Sudan and from Hong Kong.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Spokane and Calgary.
I'm losing my edge to the art-school Salvador 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 Matthew Halsall to the techno kids.
I played it at the 40 Watt.
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 Yusef Lateef. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Au Pairs 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
The Mojo Men,
Barry Ungar,
The Electric Prunes,
Alphaville,
The Vogues,
Bang on a Can All-Stars,
Cecil Taylor,
The Index,
Robert Wyatt,
The Saints,
Skarface,
Khruangbin,
Barclay James Harvest,
MC5,
The Cramps,
Sex Pistols,
Gang Gang Dance,
Average White Band,
Pussy Galore,
Drive Like Jehu,
Joe Finger,
Selector Dub Narcotic,
Heavy D & The Boyz,
The Fire Engines,
Sandy B,
Graham Central Station,
Lafayette Afro Rock Band,
The Names,
X-101,
The West Coast Pop Art Experimental Band,
KRS-One,
These Immortal Souls,
Maleditus Sound,
The Moody Blues,
Liaisons Dangereuses,
Kerrie Biddell,
Peter and Kerry,
Radiopuhelimet,
Wings,
The Selecter,
Fifty Foot Hose,
Camron Feat. Memphis Bleek And Beenie Seigel,
Niagra,
The Modern Lovers,
Siouxsie and the Banshees,
Kool G Rap & DJ Polo,
Warsaw,
The Standells,
Kool Moe Dee,
Ronnie Foster,
The Music Machine,
Rakim,
Sarah Menescal,
X-Ray Spex,
Chrome,
H. Thieme,
Japan,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.