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 Liechtenstein and from Manchester.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Chic practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 Brass Construction to the jazz kids.
I played it at Trash.
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 Swell Maps. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
The Men They Couldn't Hang,
Interpol,
Freddie Wadling,
Parry Music,
Slave,
The Neon Judgement,
Notorious Big And Bone Thugs,
The Blackbyrds,
Bush Tetras,
Faust,
Derrick Morgan,
Janne Schatter,
Red Lorry Yellow Lorry,
Notorious BIG live in Amsterdam,
Franke,
Bad Manners,
Public Image Ltd.,
Dual Sessions,
Cabaret Voltaire,
Section 25,
Wolf Eyes,
ABC,
One Last Wish,
Sticky Fingaz feat. Raekwon,
Patti Smith,
a-ha,
Rahsaan Roland Kirk,
Country Teasers,
Peter & Gordon,
The Residents,
World's Most,
Laurel Aitken,
Pantaleimon,
the Soft Cell,
Peter and Kerry,
the Human League,
Unrelated Segments,
Saccharine Trust,
Aural Exciters,
The Martian,
Pulsallama,
The Cosmic Jokers,
The Gun Club,
Thinking Fellers Union Local 282,
Ultra Naté,
Chrome,
Frankie Knuckles,
Man Eating Sloth,
Au Pairs,
Lafayette Afro Rock Band,
Scott Walker + Sunn O))),
Bobby Womack,
Soft Cell,
Electric Light Orchestra,
The Sound,
Rosa Yemen,
Bootsy's Rubber Band,
The Cramps,
Jesper Dahlback,
Jandek, Jandek, Jandek, Jandek.
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.