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 Bhutan and from Bremen.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Marvin Gaye to the dance kids.
I played it at the Roxy.
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 Ash Ra Tempel. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Ossler,
Sight & Sound,
The Techniques,
PIL,
Barbara Tucker,
Crime,
Marc Almond,
Kango’s Stein Massive,
Drive Like Jehu,
The Associates,
Gary Puckett & The Union Gap,
The Skatalites,
Sparks,
Jacques Brel,
The Zeros,
Teenage Jesus and the Jerks,
The Moleskins,
Mad Mike,
Inner City,
Eric Dolphy,
Derrick May,
Hardrive,
Pere Ubu,
Angry Samoans,
Jimmy McGriff,
Barry Ungar,
Bob Dylan,
Letta Mbulu,
Kevin Saunderson,
The Standells,
Black Moon,
The Gun Club,
Sarah Menescal,
Neil Young & Crazy Horse,
Chris Corsano,
Eric Copeland,
Blancmange,
the Bar-Kays,
The Selecter,
CMW,
Soft Machine,
John Coltrane,
Amon Düül II,
Arthur Verocai,
N.O.R.E. Featuring Pharrell,
the Human League,
Dr. Dre and Snoop Doggy Dog,
Ludus,
Harmonia,
The Jesus and Mary Chain,
Ornette Coleman,
Gang Green,
Peter and Kerry,
The Men They Couldn't Hang,
Bill Near,
Maleditus Sound,
Quantec,
Wasted Youth,
Ronnie Foster,
Colin Newman,
Graham Central Station,
Jawbox, Jawbox, Jawbox, Jawbox.
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.