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 St Kitts & Nevis and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Calgary and Milan.
I'm losing my edge to the art-school New York 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 at the first Suicide practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 DNA to the grime kids.
I played it at the Crocodile.
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 Rhythm & Sound. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Pole,
Desert Stars,
The Slits,
Blossom Toes,
Gong,
Amon Düül,
Subhumans,
D'Angelo,
Barry Ungar,
Bauhaus,
Accadde A,
The Moody Blues,
Monolake,
Ossler,
Monks,
The Last Poets,
Depeche Mode,
Shuggie Otis,
Robert Wyatt,
EPMD,
London Community Gospel Choir,
Andrew Ashong & Theo Parrish,
The Red Krayola,
Selector Dub Narcotic,
Major Organ And The Adding Machine,
Juan Atkins,
Graham Central Station,
Unwound,
Ultra Naté,
Ohio Players,
June Days,
The Offenders,
Nirvana,
Rhythim Is Rhythim,
B.T. Express,
The Dirtbombs,
Kool Moe Dee,
The Searchers,
Theoretical Girls,
The Seeds,
The Cosmic Jokers,
The Motions,
Ken Boothe,
Severed Heads,
Whodini,
F. McDonald,
Skaos,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Television Personalities,
Richard Hell and the Voidoids,
Young Marble Giants,
James Chance & The Contortions,
Gil Scott-Heron and Jamie xx,
This Heat,
Throbbing Gristle,
The Flesh Eaters,
Jesper Dahlback,
Kango’s Stein Massive,
Minutemen,
Bush Tetras,
Adolescents, Adolescents, Adolescents, Adolescents.
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.