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 Uruguay and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Milan 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 the Bar-Kays to the grunge 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 the Slits. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Ronan,
Essential Logic,
Mission of Burma,
The Zeros,
Avey Tare & Kría Brekkan,
World's Most,
Das Ding,
AZ,
Barclay James Harvest,
Hashim,
June Days,
Red Lorry Yellow Lorry,
Junior Murvin,
Teenage Jesus and the Jerks,
Porter Ricks,
Stockholm Monsters,
EPMD,
Marvin Gaye,
Anthony Braxton,
Leonard Cohen,
The Associates,
The Monochrome Set,
The Offenders,
Whodini,
Stiv Bators,
Amon Düül,
Sandy B,
Ohio Players,
Slave,
Jerry Gold Smith,
Dead Boys,
The Walker Brothers,
The Residents,
Mark Hollis,
Lee Hazlewood,
Little Man,
The J.B.'s,
Sun Ra Arkestra,
The Count Five,
Ralphi Rosario,
The Blues Magoos,
John Foxx,
Vladislav Delay,
Grandmaster Flash,
Andrew Ashong & Theo Parrish,
Oneida,
A Certain Ratio,
Dawn Penn,
Jeff Mills,
Stetsasonic,
Shoche,
Zapp,
Parry Music,
Crispy Ambulance,
The Tremeloes,
Donny Hathaway,
The Fuzztones,
Drexciya,
Reagan Youth,
The Real Kids,
John Coltrane,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.