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 Slovakia and from Hong Kong.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Madrid and Calgary.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Roy Ayers Ubiquity to the techno kids.
I played it at the Troubador.
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 Moody Blues. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Procol Harum 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a This Heat 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?
Bobbi Humphrey,
Liliput,
Oneida,
Derrick Morgan,
Piero Umiliani,
Sunsets and Hearts,
Shuggie Otis,
the Germs,
Moss Icon,
Aswad,
Porter Ricks,
Isaac Hayes,
The Royal Family And The Poor,
Animal Collective,
Gang Gang Dance,
Gerry Rafferty,
Sister Nancy,
UT,
Justin Hinds & The Dominoes,
Susan Cadogan,
Q65,
Rekid,
Richard Hell and the Voidoids,
Slick Rick,
Yaz,
Eyeless In Gaza,
Gong,
Lakeside,
Archie Shepp,
The Dirtbombs,
Bill Wells,
The Angels of Light,
the Sonics,
Warren Ellis,
Tropical Tobacco,
Tom Boy,
The Sisters of Mercy,
Wolf Eyes,
Ohio Players,
Fatback Band,
R.M.O.,
John Foxx,
Wings,
Dead Boys,
Jesper Dahlback,
Siouxsie and the Banshees,
Sällskapet,
Soulsonic Force,
DJ Sneak,
Skarface,
Technova,
Rahsaan Roland Kirk,
Monolake,
CMW,
Jeff Mills,
Grandmaster Flash and the Furious Five,
The Fugs,
The Techniques,
Arcadia,
Sam Rivers,
The Move,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.