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 Burkina and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Delhi 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Skriet to the grunge kids.
I played it at Trash.
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 Pierre Henry. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal rock 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 a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Pete Rock & C.L. Smooth,
MC5,
Lizzy Mercier Descloux,
Man Eating Sloth,
John Holt,
Barry Ungar,
The Index,
The Birthday Party,
Barbara Tucker,
Spandau Ballet,
Sun Ra,
Lonnie Liston Smith,
The Cosmic Jokers,
Saccharine Trust,
Motorama,
Kaleidoscope,
Soulsonic Force,
The Moody Blues,
Jesper Dahlbäck,
Urselle,
The Five Americans,
Gil Scott-Heron & Brian Jackson,
Accadde A,
Blancmange,
The Real Kids,
The Mighty Diamonds,
Freddie Wadling,
Easy Going,
Fat Boys,
Guru Guru,
Symarip,
Jerry's Kids,
Kerrie Biddell,
Ultimate Spinach,
Scratch Acid,
L. Decosne,
Eden Ahbez,
Fatback Band,
The Angels of Light,
Swell Maps,
Lebanon Hanover,
Pantaleimon,
Lou Christie,
Anthony Braxton,
Ronnie Foster,
Joyce Sims,
Bootsy's Rubber Band,
Slick Rick,
Animal Collective,
Fela Kuti,
Dawn Penn,
the Association,
Ultramagnetic MC's,
Kauko Röyhkä ja Narttu,
Y Pants,
The Dead C,
Orchestral Manoeuvres in the Dark,
Erasure,
Basic Channel,
The Count Five, The Count Five, The Count Five, The Count Five.
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.