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 Burkina and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Seoul 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 güiro 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 Scratch Acid to the disco kids.
I played it at the Astoria.
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 Jesus and Mary Chain. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Masta Ace, Craig G, Kool G Rap, Big Daddy Kane 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Jawbox,
Eddi Front,
Little Man,
Gil Scott Heron,
Deakin,
48th St. Collective,
Rhythm & Sound,
Alphaville,
The Golliwogs,
Kings Of Tomorrow,
Idris Muhammad,
Isaac Hayes,
Ken Boothe,
Peter & Gordon,
Delon & Dalcan,
Bootsy's Rubber Band,
Saccharine Trust,
Althea and Donna,
Sight & Sound,
The Mighty Diamonds,
Gang Green,
Au Pairs,
The Vogues,
Japan,
Black Bananas,
Scott Walker,
Eyeless In Gaza,
Siglo XX,
Ohio Players,
Avey Tare & Kría Brekkan,
The West Coast Pop Art Experimental Band,
UT,
Scion,
The Alarm Clocks,
Fear,
Marc Almond,
Unwound,
Lindisfarne,
Lafayette Afro Rock Band,
Curtis Mayfield,
Siouxsie and the Banshees,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Public Image Ltd.,
Deepchord,
Brick,
Essential Logic,
Nick Fraelich,
Zero Boys,
The Barracudas,
Brass Construction,
Gil Scott-Heron & Brian Jackson,
Pharaoh Sanders and the Fire Engines,
Eden Ahbez,
Oneida,
Mars,
The Black Dice,
The Real Kids,
Marine Girls,
Roxette,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.