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 Mozambique and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Madrid 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron 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 Throbbing Gristle to the rap kids.
I played it at the Roxy.
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 Circle Jerks. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Glambeats Corp.,
Andrew Hill,
Neil Young,
Gabor Szabo,
The Jesus and Mary Chain,
Louis and Bebe Barron,
Pharaoh Sanders and the Fire Engines,
Man Eating Sloth,
Al Stewart,
Flamin' Groovies,
Kevin Saunderson,
Q65,
The Birthday Party,
Pylon,
UT,
Bill Near,
Alice Coltrane,
Avey Tare & Kría Brekkan,
Crispy Ambulance,
Matthew Bourne,
Rhythm & Sound,
Public Enemy,
The Slackers,
The Blackbyrds,
The Last Poets,
Cheater Slicks,
Funkadelic,
Fifty Foot Hose,
Notorious Big And Bone Thugs,
Mark Hollis,
Gastr Del Sol,
The Divine Comedy,
Danielle Patucci,
Von Mondo,
Don Cherry,
Joyce Sims,
Nils Olav,
Davy DMX,
Angels of Light & Akron/Family,
Parry Music,
Maleditus Sound,
Make Up,
Blake Baxter,
Bronski Beat,
Lee Hazlewood,
Spandau Ballet,
Organ,
Depeche Mode,
Spoonie Gee,
Alphaville,
The Move,
The Mighty Diamonds,
Siglo XX,
Sister Nancy,
Nik Kershaw,
Jandek,
Fort Wilson Riot,
Unrelated Segments,
Rotary Connection,
Echospace,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.