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 Guinea and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Woodstock 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Louis and Bebe Barron to the electroclash 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 Sun City Girls. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Organ 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Quantec,
Jerry Gold Smith,
Supertramp,
Audionom,
Derrick Morgan,
B.T. Express,
Ultimate Spinach,
Drexciya,
De La Soul & Jungle Brothers,
The New Christs,
D'Angelo,
Leonard Cohen,
Maurizio,
Funkadelic,
Super Lover Cee & Casanova Rud,
Animal Collective,
Q65,
Reuben Wilson,
Rod Modell,
Essential Logic,
The Vogues,
Avey Tare & Kría Brekkan,
Erasure,
Bobbi Humphrey,
Spoonie Gee,
The Buckinghams,
Soft Cell,
Angels of Light & Akron/Family,
Gregory Isaacs,
These Immortal Souls,
Model 500,
Röyhkä ja Rättö ja Lehtisalo,
Radiopuhelimet,
Rekid,
New York Dolls,
Brand Nubian,
Cecil Taylor,
Rowland S Howard / Lydia Lunch,
Bill Near,
Cal Tjader,
The Smoke,
Crispian St. Peters,
The Mojo Men,
Hoover,
Tres Demented,
Monolake,
The Litter,
Camron Feat. Memphis Bleek And Beenie Seigel,
UT,
Junior Murvin,
Mission of Burma,
The Slits,
the Human League,
Fear,
Can,
Absolute Body Control,
Juan Atkins,
ABC,
Mo-Dettes,
The Jesus and Mary Chain,
Sixth Finger,
Peter & Gordon,
The Remains, The Remains, The Remains, The Remains.
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.