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 Marshall Islands and from Lyon.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Manchester 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 arpeggiator 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 Jeff Lynne 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 Todd Rundgren. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Brick,
Eric B and Rakim,
Los Fastidios,
Altered Images,
Underground Resistance,
The Fortunes,
Sonny Sharrock,
Silicon Teens,
Scratch Acid,
Eli Mardock,
Sly & The Family Stone,
Nirvana,
Fatback Band,
The J.B.'s,
Ajijia Myrayebe,
Gerry Rafferty,
Matthew Bourne,
Eric Copeland,
Adolescents,
Jerry's Kids,
Negative Approach,
Blancmange,
Camberwell Now,
Duran Duran,
Oppenheimer Analysis,
Roger Hodgson,
Magazine,
Pierre Henry,
Qualms,
Infiniti,
Robert Hood,
Q65,
Alphaville,
Heaven 17,
The Stooges,
Warsaw,
James White and The Blacks,
Byron Stingily,
Justin Hinds & The Dominoes,
Siglo XX,
Sällskapet,
Lightning Bolt,
R.M.O.,
Kerrie Biddell,
Ossler,
Minutemen,
Spoonie Gee,
Talk Talk,
Gang of Four,
One Last Wish,
Swans,
The Techniques,
The Skatalites,
Lou Christie,
Television Personalities,
Grandmaster Flash,
Henry Cow,
Hoover,
Andrew Hill,
Dead Boys,
ABBA,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.