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 Philippines and from Delhi.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Delhi and Bologna.
I'm losing my edge to the art-school Paris 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 Heavy D & The Boyz to the grime kids.
I played it at the Hacienda.
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 Don Cherry. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Marmalade,
The Fuzztones,
Beasts of Bourbon,
Quantec,
Swell Maps,
Accadde A,
Scientists,
Morten Harket,
Au Pairs,
Harpers Bizarre,
Eli Mardock,
Sight & Sound,
The Techniques,
Marc Almond,
Hasil Adkins,
Fifty Foot Hose,
Stiv Bators,
Maurizio,
Donald Byrd,
Josef K,
AZ,
Lucky Dragons,
the Germs,
Magazine,
The Residents,
Tears for Fears,
Gabor Szabo,
Camron Feat. Jay Z And Juelz,
Scan 7,
Sällskapet,
Organ,
Yusef Lateef,
Lebanon Hanover,
Minnie Riperton,
Altered Images,
Grandmaster Flash,
Pulsallama,
Cabaret Voltaire,
Animal Collective,
Pantaleimon,
the Normal,
The Seeds,
The United States of America,
Crash Course in Science,
Oneida,
Deakin,
T.S.O.L.,
World's Most,
Public Enemy,
Heaven 17,
Boogie Down Productions,
Aloha Tigers,
The Monochrome Set,
Matthew Halsall,
Robert Hood,
Liaisons Dangereuses,
Unrelated Segments,
Lizzy Mercier Descloux,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Peter Gordon & Love of Life Orchestra,
Funkadelic,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.