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 Serbia and from Manchester.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Spokane and Lille.
I'm losing my edge to the art-school Johannesburg 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Simply Red to the grime kids.
I played it at the Crocodile.
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 Piero Umiliani. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every The Moleskins 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes 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?
Fugazi,
Nation of Ulysses,
Camron Feat. Memphis Bleek And Beenie Seigel,
Arab on Radar,
Yellowson,
Grauzone,
Matthew Bourne,
Bobby Byrd,
Saccharine Trust,
Brick,
Rufus Thomas,
Be Bop Deluxe,
The New Christs,
Nick Fraelich,
Hasil Adkins,
The Happenings,
Lou Reed & Metallica,
Chris & Cosey,
T.S.O.L.,
June Days,
Television Personalities,
U.S. Maple,
The Fire Engines,
Amazonics,
Ituana,
The Moleskins,
Suburban Knight,
Flamin' Groovies,
Alice Coltrane,
Warren Ellis,
Vainqueur,
Wally Richardson,
Visage,
Scott Walker + Sunn O))),
Gabor Szabo,
The Remains,
Soft Machine,
Echospace,
Radiopuhelimet,
Au Pairs,
The Moody Blues,
Supertramp,
The Barracudas,
Mandrill,
T. Rex,
Black Pus,
Eve St. Jones,
Peter and Kerry,
Barclay James Harvest,
Super Lover Cee & Casanova Rud,
Eric B and Rakim,
Lafayette Afro Rock Band,
Slick Rick,
The Grass Roots,
The Victims,
Godley & Creme,
Ken Boothe,
The Star Department,
Niagra,
Kurtis Blow,
the Human League,
Suicide, Suicide, Suicide, Suicide.
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.