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 Dominican Republic and from Portland.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Toni Rubio to the jazz kids.
I played it at the Hacienda.
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 John Coltrane. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every The Evens 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 '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Marvin Gaye,
Joe Smooth,
X-Ray Spex,
Susan Cadogan,
T. Rex,
Magma,
The Cowsills,
Ohio Players,
The Invisible,
Pierre Henry,
The Grass Roots,
Alton Ellis,
Cecil Taylor,
The Leaves,
Blancmange,
Rod Modell,
Flipper,
Nico,
Zapp,
John Lydon,
Groovy Waters,
Brass Construction,
Sun City Girls,
Avey Tare & Kría Brekkan,
Mark Hollis,
Barbara Tucker,
Louis and Bebe Barron,
Thinking Fellers Union Local 282,
Darondo,
Altered Images,
Bobby Byrd,
Lower 48,
The Toasters,
Derrick May,
Faust,
Lou Reed & John Cale,
The United States of America,
48th St. Collective,
Minutemen,
the Fania All-Stars,
MDC,
Con Funk Shun,
Josef K,
Eric Copeland,
The Fire Engines,
Red Lorry Yellow Lorry,
Royal Trux,
Black Pus,
The Sound,
Bootsy Collins,
James Chance & The Contortions,
Tres Demented,
ABBA,
Urselle,
Althea and Donna,
Moebius,
Minor Threat,
T.S.O.L.,
The American Breed,
Connie Case,
The Velvet Underground,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.