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 Sweden and from Portland.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1970.
I'm losing my edge.
To all the kids in Bologna and London.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 Juan Atkins to the crunk 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 Echospace. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Von Mondo 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Kevin Saunderson,
Vainqueur,
Jacques Brel,
Crispy Ambulance,
Gregory Isaacs,
Sight & Sound,
Marc Romboy vs. Booka Shade,
Robert Hood,
AZ,
Sam Rivers,
Make Up,
LL Cool J,
Peter and Kerry,
Deakin,
Severed Heads,
Siglo XX,
The Mojo Men,
Toni Rubio,
Alice Coltrane,
Television Personalities,
Scientists,
The Cosmic Jokers,
Adolescents,
Drexciya,
The Barracudas,
Unrelated Segments,
T.S.O.L.,
Sun Ra Arkestra,
The Standells,
Neu!,
the Normal,
Ten City,
Crime,
Hot Snakes,
Black Sheep,
Bluetip,
Nik Kershaw,
Cecil Taylor,
The Moody Blues,
Gang of Four,
The Sonics,
Thinking Fellers Union Local 282,
David Axelrod,
Boz Scaggs,
Avey Tare's Slasher Flicks,
Slave,
Chris & Cosey,
Pylon,
the Soft Cell,
The Leaves,
Michelle Simonal,
The West Coast Pop Art Experimental Band,
Average White Band,
Marcia Griffiths,
Mo-Dettes,
Henry Cow,
Terry Callier,
Icehouse,
Gil Scott-Heron and Jamie xx,
Rod Modell,
Soft Cell,
Fugazi,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.