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 Sierra Leone and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Paris.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Saccharine Trust to the electroclash kids.
I played it at Cafe Wha.
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 Dorothy Ashby. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Ultimate Spinach,
Man Parrish,
Rowland S Howard / Lydia Lunch,
Soulsonic Force,
Main Source,
Ralphi Rosario,
Angry Samoans,
Lee Hazlewood,
Bang On A Can,
Oneida,
Joyce Sims,
Nils Olav,
Bauhaus,
Scion,
The Dirtbombs,
Clear Light,
The Gories,
Avey Tare & Kría Brekkan,
Guru Guru,
Monolake,
Skarface,
D'Angelo,
Bang on a Can All-Stars,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Theoretical Girls,
Pagans,
Zero Boys,
Jimmy McGriff,
The Index,
Nick Fraelich,
Mandrill,
Joensuu 1685,
Graham Central Station,
Barbara Tucker,
Scientists,
Lafayette Afro Rock Band,
Justin Hinds & The Dominoes,
Deutsch Amerikanische Freundschaft,
Alphaville,
The Smiths,
The Techniques,
Kauko Röyhkä ja Narttu,
Chris Corsano,
La Düsseldorf,
Los Fastidios,
Hot Snakes,
Johnny Clarke,
The Gun Club,
Eric B and Rakim,
Gil Scott-Heron & Brian Jackson,
Erykah Badu,
Ronan,
Crime,
The Barracudas,
The Red Krayola,
Quadrant,
Donny Hathaway,
Magazine,
E-Dancer,
Marshall Jefferson,
Whodini,
Richard Hell and the Voidoids,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.