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 Paraguay and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Paris and Toronto.
I'm losing my edge to the art-school Manchester 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Laurel Aitken to the electroclash 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 Warren Ellis. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Schoolly D 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Stereo Dub,
The American Breed,
Dark Day,
Kool G Rap & DJ Polo,
James Chance & The Contortions,
Quando Quango,
Fat Boys,
Essential Logic,
Mandrill,
Nation of Ulysses,
The Alarm Clocks,
Kerri Chandler,
The Music Machine,
New Age Steppers,
Matthew Bourne,
Yusef Lateef,
Avey Tare,
The Pretty Things,
Ronan,
Kauko Röyhkä ja Narttu,
Pierre Henry,
John Coltrane,
MC5,
The Busters,
Metal Thangz,
Black Flag,
Marshall Jefferson,
Roy Ayers Ubiquity,
X-Ray Spex,
Bobby Womack,
Crooked Eye,
Graham Central Station,
Super Lover Cee & Casanova Rud,
The Toasters,
Technova,
Basic Channel,
Kurtis Blow,
X-102,
The Neon Judgement,
Severed Heads,
Curtis Mayfield,
Larry & the Blue Notes,
Gichy Dan,
John Cale,
Lizzy Mercier Descloux,
The Dirtbombs,
Alphaville,
Bad Manners,
Barrington Levy,
The Jesus and Mary Chain,
Jeff Lynne,
Gang Gang Dance,
The Smiths,
Andrew Hill,
The Chocolate Watch Band,
Lungfish,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.