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 Mali and from Lagos.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
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 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 Fort Wilson Riot to the dance 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 The Slits. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every the Bar-Kays 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 '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Ultimate Spinach,
Spoonie Gee,
The Beau Brummels,
Q65,
Jesper Dahlback,
Joe Finger,
Rhythm & Sound,
Boz Scaggs,
Liliput,
Cameo,
Los Fastidios,
The Jesus and Mary Chain,
Groovy Waters,
The Walker Brothers,
David McCallum,
Colin Newman,
Maleditus Sound,
Aswad,
Rufus Thomas,
Main Source,
The Litter,
Byron Stingily,
Pierre Henry,
Quantec,
The Men They Couldn't Hang,
The Associates,
Make Up,
Anakelly,
Livin' Joy,
The Moody Blues,
Ronan,
The Slackers,
Symarip,
Dennis Brown,
Rakim,
The Cowsills,
Can,
Pere Ubu,
Eden Ahbez,
The Slits,
Deakin,
The Raincoats,
Lindisfarne,
Rekid,
Angels of Light & Akron/Family,
Todd Terry,
Sight & Sound,
Louis and Bebe Barron,
Danielle Patucci,
Severed Heads,
Sonic Youth,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Soft Cell,
Sun Ra,
Aaron Thompson,
Art Ensemble Of Chicago,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.