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 Togo and from Johannesburg.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school Seoul 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 Josef K practice in a loft in Edinburgh.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Minor Threat to the grime kids.
I played it at the Hacienda.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
The Cowsills,
Rod Modell,
Pulsallama,
Newcleus,
Gary Puckett & The Union Gap,
Glenn Branca,
The J.B.'s,
Mark Hollis,
Avey Tare's Slasher Flicks,
Eyeless In Gaza,
Nico,
Bobby Sherman,
Skriet,
Tim Buckley,
Suburban Knight,
Blake Baxter,
Scion,
Bang on a Can All-Stars,
Unrelated Segments,
Joe Finger,
The Selecter,
KRS-One,
Jacob Miller,
Sunsets and Hearts,
R.M.O.,
Darondo,
Pere Ubu,
John Lydon,
Lalo Schifrin,
Black Flag,
Stockholm Monsters,
Girls At Our Best!,
The Saints,
OOIOO,
Deakin,
New York Dolls,
The Grass Roots,
Visage,
Beasts of Bourbon,
PIL,
Black Bananas,
World's Most,
Tom Boy,
Crispy Ambulance,
Boogie Down Productions,
John Foxx,
Gang of Four,
Sällskapet,
Skaos,
Bizarre Inc.,
The Smiths,
Youth Brigade,
Q and Not U,
Gregory Isaacs,
Robert Görl,
Quando Quango,
Spoonie Gee,
Stetsasonic,
Silicon Teens,
The Gories,
The Gap Band,
Wire, Wire, Wire, Wire.
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.