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 Algeria and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Salvador and Paris.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 The Real Kids to the punk kids.
I played it at the Astoria.
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 Kerrie Biddell. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Swans 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Eric Copeland,
James Chance & The Contortions,
Liliput,
Absolute Body Control,
Hasil Adkins,
Jawbox,
The Jesus and Mary Chain,
Quando Quango,
Charles Mingus,
The Move,
the Slits,
Camberwell Now,
Popol Vuh,
10cc,
Orchestral Manoeuvres in the Dark,
Swell Maps,
Larry & the Blue Notes,
The Blues Magoos,
Bobbi Humphrey,
Adolescents,
Minny Pops,
Todd Terry,
Cal Tjader,
DeepChord presents Echospace,
Banda Bassotti,
Model 500,
Peter Gordon & Love of Life Orchestra,
Oneida,
Mantronix,
Vladislav Delay,
Sarah Menescal,
The Buckinghams,
Electric Prunes,
The Monks,
Mary Jane Girls,
Nation of Ulysses,
Bizarre Inc.,
Cluster,
Ituana,
Outsiders,
Andrew Ashong & Theo Parrish,
Bad Manners,
Oppenheimer Analysis,
Sexual Harrassment,
Archie Shepp,
Man Parrish,
The Motions,
Justin Hinds & The Dominoes,
The Selecter,
The Trojans,
Television,
the Soft Cell,
Strawberry Alarm Clock,
Sound Behaviour,
The Victims,
Dawn Penn,
Pete Rock & C.L. Smooth,
Can,
Gang Green,
The Kinks,
Wire,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.