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 Chile and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1961 to 1976.
I'm losing my edge.
To all the kids in Manchester and Houston.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the 808 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 Moebius to the grunge kids.
I played it at the Astoria.
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 Slave. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal techno 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 a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Dr. Dre and Snoop Doggy Dog,
Fluxion,
Rekid,
Lafayette Afro Rock Band,
Drive Like Jehu,
Hasil Adkins,
Unwound,
Liliput,
Buzzcocks,
Dennis Brown,
The Misunderstood,
the Normal,
Subhumans,
Glambeats Corp.,
The Happenings,
The Saints,
Motorama,
Derrick May,
The Residents,
Neil Young,
Joey Negro,
Marvin Gaye,
Jesper Dahlback,
The Seeds,
Dual Sessions,
Essential Logic,
Fort Wilson Riot,
Metal Thangz,
X-101,
H. Thieme,
The Monks,
Loose Ends,
Gary Puckett & The Union Gap,
Sonic Youth,
John Cale,
Stockholm Monsters,
Kool Moe Dee,
Bootsy's Rubber Band,
Juan Atkins,
Lee Hazlewood,
Mary Jane Girls,
Yaz,
Joe Smooth,
Newcleus,
Andrew Ashong & Theo Parrish,
Fugazi,
Jandek,
Terry Callier,
Hoover,
Iggy Pop,
Nirvana,
The Pretty Things,
Severed Heads,
The Royal Family And The Poor,
Cybotron,
Popol Vuh,
A Flock of Seagulls,
Kango’s Stein Massive,
Louis and Bebe Barron,
The Cramps,
Pole, Pole, Pole, Pole.
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.