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 Finland and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Jakarta 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 clarinet 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 Erasure to the rap kids.
I played it at CBGB's.
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 Pulsallama. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Terry Callier 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Orchestral Manoeuvres in the Dark,
Alison Limerick,
China Crisis,
Girls At Our Best!,
Brick,
Los Fastidios,
Man Parrish,
Isaac Hayes,
Magma,
Freddie Wadling,
The Cowsills,
Agitation Free,
Young Marble Giants,
Thee Headcoats,
Pharaoh Sanders and the Fire Engines,
Oppenheimer Analysis,
Inner City,
The Evens,
Dual Sessions,
Roy Ayers Ubiquity,
Interpol,
Harpers Bizarre,
Alphaville,
Howard Jones,
Amon Düül,
Dawn Penn,
Drexciya,
John Cale,
The Birthday Party,
Rekid,
Zapp,
Lou Reed & John Cale,
Kevin Saunderson,
CMW,
Pete Rock & C.L. Smooth,
Youth Brigade,
Soul Sonic Force,
The Sisters of Mercy,
Average White Band,
New Order,
Bobby Hutcherson,
The Pretty Things,
Graham Central Station,
Theoretical Girls,
The Vogues,
Wings,
Smog,
Jeff Mills,
Con Funk Shun,
Alton Ellis,
Silicon Teens,
Cluster,
Deadbeat,
Babytalk,
Wire,
Erykah Badu,
Qualms,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.