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 Slovakia and from Manila.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1978.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Columbus 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 rhodes 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 Harmonia to the rock kids.
I played it at the Crocodile.
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 Lou Reed & John Cale. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Symarip,
Skaos,
Kevin Saunderson,
This Heat,
Drive Like Jehu,
The Neon Judgement,
Graham Central Station,
Funky Four + One,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeff Mills,
Oppenheimer Analysis,
Sister Nancy,
Hashim,
Intrusion,
Nils Olav,
DeepChord presents Echospace,
James Chance & The Contortions,
De La Soul & Jungle Brothers,
The American Breed,
Vladislav Delay,
Drexciya,
Make Up,
Saccharine Trust,
Colin Newman,
Erasure,
Unwound,
Lou Reed,
Little Man,
Suburban Knight,
Loose Ends,
Brothers Johnson,
Talk Talk,
Danielle Patucci,
Tears for Fears,
Bush Tetras,
Tubeway Army,
Marcia Griffiths,
Johnny Osbourne,
Wire,
Morten Harket,
Barclay James Harvest,
Sad Lovers and Giants,
CMW,
Isaac Hayes,
Charles Mingus,
Lindisfarne,
Boz Scaggs,
Television,
D'Angelo,
The Slits,
Marvin Gaye,
Faust,
the Association,
David McCallum,
Bad Manners,
Ash Ra Tempel,
Bizarre Inc.,
Tres Demented,
Rahsaan Roland Kirk,
Lightning Bolt,
8 Eyed Spy,
Boredoms, Boredoms, Boredoms, Boredoms.
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.