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 Korea North and from Bologna.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Camberwell Now to the funk kids.
I played it at the Astoria.
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 Hardrive. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Donald Byrd 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Throbbing Gristle,
Au Pairs,
Soulsonic Force,
Notorious BIG live in Amsterdam,
Drive Like Jehu,
Hardrive,
Audionom,
Soft Cell,
The American Breed,
Roxette,
X-101,
Rowland S Howard / Lydia Lunch,
Graham Central Station,
Whodini,
Procol Harum,
Shoche,
The Mighty Diamonds,
Fat Boys,
Super Lover Cee & Casanova Rud,
Strawberry Alarm Clock,
Pierre Henry,
Archie Shepp,
Amon Düül,
Cal Tjader,
Eric Dolphy,
Eddi Front,
De La Soul & Jungle Brothers,
Ken Boothe,
The Dave Clark Five,
Jacob Miller,
Man Parrish,
The Monochrome Set,
Blake Baxter,
Model 500,
Amon Düül II,
Todd Rundgren,
The Standells,
Absolute Body Control,
Supertramp,
Gastr Del Sol,
Pharoah Sanders,
The Velvet Underground,
Lee Hazlewood,
The Sisters of Mercy,
Smog,
These Immortal Souls,
Scrapy,
Bobby Sherman,
Radiohead,
Bang on a Can All-Stars,
The Alarm Clocks,
Kango’s Stein Massive,
T. Rex,
Isaac Hayes,
The Human League,
Rhythm & Sound,
Eden Ahbez,
The Jesus and Mary Chain,
Röyhkä ja Rättö ja Lehtisalo,
Grandmaster Flash,
X-102, X-102, X-102, X-102.
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.