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 Malta and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Philadelphia.
I'm losing my edge to the art-school Houston 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 marimba 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 Eric Copeland to the punk 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 Porter Ricks. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Easy Going,
Barrington Levy,
Neil Young & Crazy Horse,
Deepchord,
Bang on a Can All-Stars,
The Fire Engines,
Deakin,
Susan Cadogan,
the Fania All-Stars,
Agent Orange,
Richard Hell and the Voidoids,
Ituana,
Gabor Szabo,
The Music Machine,
Soul II Soul,
Oneida,
Eric Copeland,
The Fall,
Delta 5,
Yazoo,
Andrew Hill,
Buzzcocks,
Arab on Radar,
Marine Girls,
Mars,
The Electric Prunes,
Vladislav Delay,
Ronnie Foster,
Bang On A Can,
Marvin Gaye,
Nirvana,
Soft Machine,
Laurel Aitken,
Wally Richardson,
Derrick Morgan,
Cecil Taylor,
Girls At Our Best!,
Amon Düül,
The Victims,
Panda Bear,
The Shadows of Knight,
Schoolly D,
Bootsy Collins,
The Offenders,
Sonic Youth,
Masters at Work,
Throbbing Gristle,
Avey Tare's Slasher Flicks,
Unrelated Segments,
Alice Coltrane,
The Mummies,
Ultra Naté,
Heavy D & The Boyz,
Barclay James Harvest,
Sunsets and Hearts,
Cabaret Voltaire,
Bush Tetras,
Piero Umiliani,
Lonnie Liston Smith,
Rod Modell,
Magma,
Lakeside,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.