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 Albania and from Mumbai.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lyon and Columbus.
I'm losing my edge to the art-school Mexico City 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 B.T. Express to the disco 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 Juan Atkins. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
The Flesh Eaters,
The Doobie Brothers,
Jacob Miller,
A Certain Ratio,
Panda Bear,
The United States of America,
Parry Music,
Jerry Gold Smith,
Gang Starr,
The Moleskins,
Lightning Bolt,
Popol Vuh,
Bobby Sherman,
Magma,
Sugar Minott,
Bizarre Inc.,
Aaron Thompson,
Bill Wells,
Rites of Spring,
Cluster,
Reagan Youth,
B.T. Express,
Joey Negro,
Khruangbin,
Hasil Adkins,
Absolute Body Control,
Grandmaster Flash and the Furious Five,
Hardrive,
The Misunderstood,
Tomorrow,
Lizzy Mercier Descloux,
Peter Gordon & Love of Life Orchestra,
Excepter,
Kango’s Stein Massive,
Lou Reed & John Cale,
Roy Ayers,
R.M.O.,
Rotary Connection,
The Knickerbockers,
Louis and Bebe Barron,
Tres Demented,
Scientists,
Das Ding,
Masters at Work,
Agitation Free,
Kenny Larkin,
Can,
ABBA,
Rahsaan Roland Kirk,
Jerry's Kids,
Isaac Hayes,
Ultra Naté,
Average White Band,
Chris Corsano,
Alton Ellis,
the Association,
Black Sheep,
Liliput,
Eric B and Rakim,
Art Ensemble Of Chicago,
Mad Mike,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.