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 San Marino and from Philadelphia.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and London.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 Juan Atkins to the grime 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 Vaughan Mason & Crew. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Gang Starr record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet 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 mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Desert Stars,
Brick,
Major Organ And The Adding Machine,
Gong,
Marvin Gaye,
The West Coast Pop Art Experimental Band,
Barbara Tucker,
Todd Rundgren,
The Mummies,
Das Ding,
Robert Wyatt,
Roger Hodgson,
Warren Ellis,
The Peanut Butter Conspiracy,
Khruangbin,
Outsiders,
Bauhaus,
Robert Hood,
Ronan,
Liliput,
Babytalk,
Livin' Joy,
The Count Five,
John Foxx,
Magazine,
Glenn Branca,
Brand Nubian,
Easy Going,
Delon & Dalcan,
Kool Moe Dee,
Aaron Thompson,
John Lydon,
Gil Scott-Heron & Brian Jackson,
Sugar Minott,
Roy Ayers Ubiquity,
Thinking Fellers Union Local 282,
The Cosmic Jokers,
The Motions,
Visage,
Eric Copeland,
The Fuzztones,
James Chance & The Contortions,
This Heat,
The Pop Group,
Roy Ayers,
Bluetip,
Orchestral Manoeuvres in the Dark,
Albert Ayler,
Art Ensemble Of Chicago,
Beasts of Bourbon,
Minutemen,
Second Layer,
Pierre Henry,
Camron Feat. Jay Z And Juelz,
Camouflage,
Sixth Finger,
The Detroit Cobras,
Wire,
Nico, Nico, Nico, Nico.
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.