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 the UAE and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1976.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 DNA to the electroclash kids.
I played it at the Crocodile.
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 Kings Of Tomorrow. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every U.S. Maple 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 '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
The American Breed,
Terror Squad Feat. Camron,
Loose Ends,
Lebanon Hanover,
Franke,
Vaughan Mason & Crew,
the Sonics,
Idris Muhammad,
Mark Hollis,
Alton Ellis,
Scrapy,
The Skatalites,
The Litter,
ABC,
John Coltrane,
Jimmy McGriff,
Sad Lovers and Giants,
Sugar Minott,
Pagans,
the Fania All-Stars,
The Busters,
Lee Hazlewood,
The Toasters,
Silicon Teens,
Television Personalities,
Avey Tare & Kría Brekkan,
Jeff Mills,
The Index,
Joensuu 1685,
R.M.O.,
Scott Walker,
Juan Atkins,
Bootsy Collins,
Rowland S Howard / Lydia Lunch,
Captain Beefheart & His Magic Band,
Peter and Kerry,
Pierre Henry,
Country Joe & The Fish,
Eyeless In Gaza,
Jeru the Damaja,
Scientists,
Todd Rundgren,
The Fire Engines,
Main Source,
Jesper Dahlback,
DeepChord presents Echospace,
Adolescents,
Nico,
Terrestrial Tones,
Tubeway Army,
T. Rex,
Notorious Big And Bone Thugs,
Sticky Fingaz feat. Raekwon,
the Swans,
Mantronix,
JFA,
Black Flag,
The Mighty Diamonds,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.