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 Jordan and from Lagos.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Shanghai 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 theremin 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 Ronan to the grime 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 Nils Olav. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Tom Boy 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 '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
The Count Five,
Urselle,
Arab on Radar,
F. McDonald,
Joy Division,
Terrestrial Tones,
Harpers Bizarre,
Tropical Tobacco,
kango's stein massive,
Ash Ra Tempel,
Roxy Music,
Boz Scaggs,
Radiopuhelimet,
Aloha Tigers,
Justin Hinds & The Dominoes,
Girls At Our Best!,
Eve St. Jones,
Reuben Wilson,
Anakelly,
Radio Birdman,
Liaisons Dangereuses,
Soft Machine,
Fear,
Brothers Johnson,
The Dave Clark Five,
DJ Style,
Super Lover Cee & Casanova Rud,
Joensuu 1685,
Deepchord,
Moby Grape,
Nick Cave & The Bad Seeds,
Bauhaus,
Man Eating Sloth,
Terry Callier,
Barclay James Harvest,
Audionom,
Hot Snakes,
Alice Coltrane,
Nation of Ulysses,
Matthew Halsall,
Steve Hackett,
Model 500,
ABC,
Gian Franco Pienzio,
Underground Resistance,
The Busters,
In Retrospect,
Graham Central Station,
Sound Behaviour,
Scientists,
Marine Girls,
Eric B and Rakim,
Malaria!,
Black Sheep,
Public Enemy,
Hashim,
Young Marble Giants,
Albert Ayler,
Television,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.