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 Lithuania and from Seoul.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Bologna 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 oboe 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 ABC to the punk 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 Kool G Rap & DJ Polo. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
The Moleskins,
Youth Brigade,
Adolescents,
La Düsseldorf,
The Kinks,
Marc Romboy vs. Booka Shade,
Ornette Coleman,
The Invisible,
The Offenders,
The Barracudas,
Louis and Bebe Barron,
Amon Düül II,
David Axelrod,
Tears for Fears,
Kevin Saunderson,
Radiopuhelimet,
Jeru the Damaja,
Sonny Sharrock,
Bizarre Inc.,
The Modern Lovers,
The Remains,
Carl Craig,
Mark Hollis,
Yaz,
Junior Murvin,
Alice Coltrane,
Grey Daturas,
Tom Boy,
Mandrill,
The Red Krayola,
Nico,
Qualms,
Lower 48,
Crime,
Rhythm & Sound,
The Sisters of Mercy,
Byron Stingily,
Nik Kershaw,
Parry Music,
Lebanon Hanover,
Heaven 17,
Heavy D & The Boyz,
Ash Ra Tempel,
Blossom Toes,
Sunsets and Hearts,
Talk Talk,
MC5,
Barry Ungar,
Camouflage,
The Men They Couldn't Hang,
Dual Sessions,
The Angels of Light,
the Swans,
Alison Limerick,
The Real Kids,
Reuben Wilson,
Kauko Röyhkä ja Narttu,
Urselle,
Pantytec,
The Slackers,
The Stooges,
Roxy Music,
A Flock of Seagulls,
The Smiths, The Smiths, The Smiths, The Smiths.
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.