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 Somalia and from Delhi.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Taipei 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 clarinet 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 Derrick May to the jazz kids.
I played it at the Spitz.
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 Nas. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every World's Most 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Selecter,
Lalann,
World's Most,
Los Fastidios,
The Men They Couldn't Hang,
Chris Corsano,
Avey Tare,
The Moleskins,
Gabor Szabo,
The Divine Comedy,
Gregory Isaacs,
Black Sheep,
Cameo,
Fluxion,
London Community Gospel Choir,
Sister Nancy,
Teenage Jesus and the Jerks,
Tim Buckley,
The Remains,
Lizzy Mercier Descloux,
Lindisfarne,
Byron Stingily,
Rosa Yemen,
Das Ding,
Joyce Sims,
Juan Atkins,
Goldenarms,
Scratch Acid,
The Toasters,
Gang Starr,
The Cowsills,
Be Bop Deluxe,
L. Decosne,
Bill Wells,
Skarface,
Gary Puckett & The Union Gap,
The Busters,
The Doobie Brothers,
Ronnie Foster,
Y Pants,
Inner City,
Mantronix,
Hashim,
Blossom Toes,
Ohio Players,
EPMD,
Index,
Harry Pussy,
Throbbing Gristle,
Lou Reed & Metallica,
PIL,
Ash Ra Tempel,
Jimmy McGriff,
Bobby Hutcherson,
Crooked Eye,
Flash Fearless,
Sun City Girls,
Albert Ayler,
Lou Reed,
Warren Ellis,
Section 25,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.