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 Chile and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Salvador 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Neon Judgement to the techno kids.
I played it at the Spitz.
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 Birthday Party. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Lee Hazlewood 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Letta Mbulu,
Marcia Griffiths,
the Slits,
Soft Machine,
The Blues Magoos,
Andrew Ashong & Theo Parrish,
Mantronix,
Jeru the Damaja,
Excepter,
Stereo Dub,
The Count Five,
Louis and Bebe Barron,
Zapp,
Khruangbin,
Nirvana,
One Last Wish,
Gregory Isaacs,
Erasure,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alphaville,
Young Marble Giants,
Parry Music,
Matthew Bourne,
Lee Hazlewood,
Ajijia Myrayebe,
Thinking Fellers Union Local 282,
Crooked Eye,
The Kinks,
Throbbing Gristle,
Fluxion,
A Certain Ratio,
London Community Gospel Choir,
E-Dancer,
Steve Hackett,
Ultimate Spinach,
Rufus Thomas,
Prince Buster,
Brothers Johnson,
Morten Harket,
James Chance & The Contortions,
June of 44,
Porter Ricks,
The Raincoats,
Wally Richardson,
Idris Muhammad,
Lou Christie,
Faraquet,
the Sonics,
Slave,
the Normal,
Curtis Mayfield,
Eric B and Rakim,
The Searchers,
New Age Steppers,
Eve St. Jones,
Rod Modell,
Lower 48,
Big Daddy Kane,
Sam Rivers,
Nation of Ulysses,
Intrusion, Intrusion, Intrusion, Intrusion.
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.