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 Russia and from Manchester.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Seoul and Taipei.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 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 Jandek 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 Marc Almond. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Gregory Isaacs,
Hashim,
Hardrive,
Thee Headcoats,
Scratch Acid,
Negative Approach,
Liaisons Dangereuses,
Eyeless In Gaza,
Sunsets and Hearts,
Gang of Four,
Marshall Jefferson,
The Fortunes,
Grauzone,
Fugazi,
Kevin Saunderson,
Grandmaster Flash and the Furious Five,
Barrington Levy,
Guru Guru,
ABC,
Jerry Gold Smith,
Absolute Body Control,
Stockholm Monsters,
Judy Mowatt,
E-Dancer,
Swans,
Minny Pops,
Nico,
Barry Ungar,
Lou Reed & John Cale,
Cluster,
Dave Gahan,
The Detroit Cobras,
Stetsasonic,
Altered Images,
Franke,
The Leaves,
Fat Boys,
Audionom,
Kool Moe Dee,
Parry Music,
Derrick May,
Sly & The Family Stone,
Oneida,
L. Decosne,
Lungfish,
Sound Behaviour,
The Toasters,
The Young Rascals,
Gil Scott-Heron and Jamie xx,
Brass Construction,
Surgeon,
a-ha,
Rotary Connection,
Erasure,
The Offenders,
The Seeds,
The Move,
The Red Krayola,
Stereo Dub,
Lalann,
Warsaw,
Yaz,
The Associates, The Associates, The Associates, The Associates.
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.