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 Afghanistan and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1971.
I'm losing my edge.
To all the kids in Manchester and Winnipeg.
I'm losing my edge to the art-school Salvador 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 Second Layer practice in a loft in South London.
I was working on the oboe 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 Matthew Halsall to the techno 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 Harpers Bizarre. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Heavy D & The Boyz,
Peter Gordon & Love of Life Orchestra,
Echospace,
Sam Rivers,
The Knickerbockers,
Barry Ungar,
The West Coast Pop Art Experimental Band,
Soul Sonic Force,
La Düsseldorf,
Curtis Mayfield,
The Black Dice,
Japan,
Nick Fraelich,
Ash Ra Tempel,
Rhythm & Sound,
Franke,
New York Dolls,
Soft Machine,
Country Teasers,
Delta 5,
Inner City,
Crispy Ambulance,
Young Marble Giants,
Faust,
The American Breed,
John Cale,
Lonnie Liston Smith,
The Victims,
ABBA,
Essential Logic,
Blossom Toes,
Charles Mingus,
Barclay James Harvest,
Zero Boys,
Oneida,
Depeche Mode,
Colin Newman,
David Axelrod,
Stetsasonic,
The Index,
Juan Atkins,
Blake Baxter,
Bobby Hutcherson,
Throbbing Gristle,
Bluetip,
Mad Mike,
Saccharine Trust,
Unrelated Segments,
Derrick May,
Pantytec,
Soft Cell,
Rites of Spring,
The Residents,
Big Daddy Kane,
Deutsch Amerikanische Freundschaft,
Shuggie Otis,
Rowland S Howard / Lydia Lunch,
The Cosmic Jokers,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.