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 Yemen and from Jakarta.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Glasgow 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 marimba 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 The American Breed to the rock 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 Gastr Del Sol. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Japan 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?
Hasil Adkins,
Talk Talk,
Bobby Byrd,
The Electric Prunes,
Jeff Mills,
Terry Callier,
Lou Christie,
Terrestrial Tones,
Surgeon,
The Searchers,
The Slits,
Byron Stingily,
Babytalk,
Joe Finger,
Funky Four + One,
The United States of America,
Mr. Review,
The Divine Comedy,
The Count Five,
X-102,
Eddi Front,
Warren Ellis,
Rosa Yemen,
Strawberry Alarm Clock,
Popol Vuh,
Marshall Jefferson,
Symarip,
Siouxsie and the Banshees,
Grauzone,
Traffic Nightmare,
Minutemen,
The Evens,
Morten Harket,
Motorama,
Tommy Roe,
Visage,
June Days,
The Seeds,
Howard Jones,
Ultravox,
Fat Boys,
Bobbi Humphrey,
Dead Boys,
The Remains,
Kas Product,
Matthew Bourne,
Red Lorry Yellow Lorry,
Livin' Joy,
The Real Kids,
John Coltrane,
Toni Rubio,
Marcia Griffiths,
Lindisfarne,
Derrick Morgan,
Dennis Brown,
Dual Sessions,
Boogie Down Productions,
Lalann,
Lakeside,
Ajijia Myrayebe,
Rahsaan Roland Kirk,
The Pretty Things,
MDC,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.