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 Zambia and from Milan.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Manchester and Cairo.
I'm losing my edge to the art-school Winnipeg 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Theoretical Girls to the crunk 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 Talk Talk. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Cheater Slicks record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
H. Thieme,
Swans,
The Gories,
Johnny Clarke,
Boredoms,
Von Mondo,
K-Klass,
Heaven 17,
JFA,
The Golliwogs,
Bizarre Inc.,
Qualms,
Kings Of Tomorrow,
Kerri Chandler,
Country Joe & The Fish,
Lee Hazlewood,
Juan Atkins,
Deutsch Amerikanische Freundschaft,
Ash Ra Tempel,
Camron Feat. Memphis Bleek And Beenie Seigel,
Amon Düül,
John Foxx,
Art Ensemble Of Chicago,
Bang On A Can,
Ultra Naté,
Blossom Toes,
Severed Heads,
Brick,
the Normal,
Beasts of Bourbon,
Model 500,
Fluxion,
Faraquet,
N.O.R.E. Featuring Pharrell,
Das Ding,
Andrew Hill,
Joensuu 1685,
The Searchers,
Frankie Knuckles,
Morten Harket,
Peter & Gordon,
Sam Rivers,
Eyeless In Gaza,
Guru Guru,
Derrick May,
Saccharine Trust,
The Doors,
The Blackbyrds,
Chris & Cosey,
The Smoke,
Wire,
The Monks,
Notorious Big And Bone Thugs,
Carl Craig,
The Cosmic Jokers,
Rhythim Is Rhythim,
Wolf Eyes,
Anthony Braxton,
Alice Coltrane,
Desert Stars,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.