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 France and from Lille.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Mumbai 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Albert Ayler to the funk kids.
I played it at Trash.
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 Kerrie Biddell. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Minor Threat,
Andrew Hill,
Rites of Spring,
Suburban Knight,
Trumans Water,
The Pop Group,
Marvin Gaye,
Lizzy Mercier Descloux,
Terror Squad Feat. Camron,
Joyce Sims,
the Swans,
Gil Scott Heron,
The Men They Couldn't Hang,
Todd Rundgren,
Flash Fearless,
Skaos,
Ten City,
The Techniques,
Funkadelic,
Flipper,
Flamin' Groovies,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Johnny Clarke,
Kango’s Stein Massive,
Sexual Harrassment,
Thompson Twins,
Soul Sonic Force,
The Fuzztones,
Q and Not U,
Boredoms,
Notorious Big And Bone Thugs,
Au Pairs,
Cecil Taylor,
Mo-Dettes,
Wire,
John Coltrane,
Rod Modell,
Absolute Body Control,
Yazoo,
Bobby Byrd,
Monolake,
Ronan,
Jerry's Kids,
Grauzone,
Von Mondo,
Orchestral Manoeuvres in the Dark,
Soft Machine,
Television,
Eric Copeland,
Johnny Osbourne,
DJ Style,
Connie Case,
MC5,
Angry Samoans,
Janne Schatter,
Audionom,
The Modern Lovers,
Sun City Girls,
In Retrospect,
Unwound,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.