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 Mozambique and from Edmonton.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and Lille.
I'm losing my edge to the art-school Bremen 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 mellotron 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 Eric Copeland to the jazz kids.
I played it at the Hacienda.
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 The Index. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Joy Division record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Selector Dub Narcotic,
the Bar-Kays,
The Leaves,
Strawberry Alarm Clock,
Silicon Teens,
Johnny Osbourne,
Sight & Sound,
The Shadows of Knight,
Leonard Cohen,
Anakelly,
Pantaleimon,
DeepChord presents Echospace,
Donald Byrd,
The Neon Judgement,
James Chance & The Contortions,
Lebanon Hanover,
The Busters,
Bush Tetras,
The Evens,
Mission of Burma,
Kenny Larkin,
Tom Boy,
the Fania All-Stars,
Sam Rivers,
Mad Mike,
Roxy Music,
Nirvana,
Delon & Dalcan,
Agitation Free,
Peter Gordon & Love of Life Orchestra,
Urselle,
Barbara Tucker,
The Doors,
Fort Wilson Riot,
Qualms,
Tropical Tobacco,
Electric Light Orchestra,
The American Breed,
Desert Stars,
Oppenheimer Analysis,
Charles Mingus,
The Music Machine,
Steve Hackett,
The Smoke,
Von Mondo,
Bob Dylan,
Bootsy Collins,
John Lydon,
Kaleidoscope,
Joe Finger,
Matthew Halsall,
Bauhaus,
Hoover,
JFA,
The Fire Engines,
Nation of Ulysses,
Q65,
Wighnomy Brothers & Robag Wruhme,
Amazonics,
Los Fastidios,
Brick, Brick, Brick, Brick.
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.