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 Tuvalu and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Taipei and London.
I'm losing my edge to the art-school Houston 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Glenn Branca to the rock kids.
I played it at Trash.
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 Quando Quango. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Fluxion,
Susan Cadogan,
Pere Ubu,
The Skatalites,
Main Source,
Colin Newman,
Captain Beefheart & His Magic Band,
Sexual Harrassment,
The Victims,
Delon & Dalcan,
Jesper Dahlbäck,
K-Klass,
New Order,
The Grass Roots,
Morten Harket,
Gil Scott Heron,
The Peanut Butter Conspiracy,
Stockholm Monsters,
Heavy D & The Boyz,
Blancmange,
Vaughan Mason & Crew,
Amon Düül II,
Babytalk,
Andrew Ashong & Theo Parrish,
Red Lorry Yellow Lorry,
Joe Finger,
MC5,
Ice-T,
Sandy B,
Mr. Review,
Gil Scott-Heron and Jamie xx,
Rekid,
Black Bananas,
Wire,
The Music Machine,
The Selecter,
The Modern Lovers,
Deadbeat,
Buzzcocks,
Gabor Szabo,
Mark Hollis,
The Wake,
Von Mondo,
Icehouse,
Electric Light Orchestra,
The Count Five,
Robert Wyatt,
Kevin Saunderson,
The Names,
Curtis Mayfield,
The Beau Brummels,
Aaron Thompson,
Alton Ellis,
Gerry Rafferty,
The Young Rascals,
Intrusion,
Gang of Four,
Shuggie Otis,
Lebanon Hanover,
John Lydon, John Lydon, John Lydon, John Lydon.
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.