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 Bolivia and from Milan.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Madrid 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 mellotron 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 Mr. Review to the jazz kids.
I played it at the Roxy.
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 Slave. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté 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?
Khruangbin,
Rotary Connection,
The Neon Judgement,
Terry Callier,
Ossler,
Black Moon,
Roxette,
The Monochrome Set,
Massinfluence,
Robert Wyatt,
The Music Machine,
Vainqueur,
The Evens,
Tom Boy,
The Victims,
Gil Scott-Heron & Brian Jackson,
Subhumans,
The Litter,
Notorious Big And Bone Thugs,
The Mummies,
Alton Ellis,
It's A Beautiful Day,
Ice-T,
Dawn Penn,
Rakim,
Monks,
Angry Samoans,
Howard Jones,
In Retrospect,
Dead Boys,
The Raincoats,
Q and Not U,
Black Bananas,
Niagra,
La Düsseldorf,
Moss Icon,
Boredoms,
DJ Style,
Nick Cave & The Bad Seeds,
Theoretical Girls,
Fluxion,
Television,
Pharoah Sanders,
Lindisfarne,
The Sound,
Thinking Fellers Union Local 282,
Janne Schatter,
Porter Ricks,
LL Cool J,
Pierre Henry,
James Chance & The Contortions,
The Human League,
Bush Tetras,
Lalann,
Funkadelic,
Tomorrow,
Joensuu 1685,
Camron Feat. Memphis Bleek And Beenie Seigel,
Goldenarms,
The Royal Family And The Poor,
MC5,
Inner City,
Danielle Patucci,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.