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 Gambia and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Spokane and Houston.
I'm losing my edge to the art-school Columbus 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Derrick Morgan 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 Can. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal funk 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Scientists,
Joey Negro,
Jerry's Kids,
Fear,
Ponytail,
MC5,
Lizzy Mercier Descloux,
Jesper Dahlback,
The Human League,
Bob Dylan,
Bang On A Can,
Bobby Byrd,
Bauhaus,
Liaisons Dangereuses,
Nils Olav,
Rotary Connection,
Roy Ayers Ubiquity,
FM Einheit,
The Royal Family And The Poor,
Tomorrow,
Erykah Badu,
London Community Gospel Choir,
Q and Not U,
Dead Boys,
The American Breed,
Black Pus,
Gil Scott-Heron and Jamie xx,
Vainqueur,
Au Pairs,
Dual Sessions,
Fluxion,
Gil Scott-Heron & Brian Jackson,
Urselle,
Oneida,
Eli Mardock,
Chris & Cosey,
Jandek,
Faust,
Infiniti,
Matthew Bourne,
New Order,
Stockholm Monsters,
The Music Machine,
Can,
Mission of Burma,
The United States of America,
Black Bananas,
The Mummies,
Kango’s Stein Massive,
Mantronix,
John Lydon,
Ronan,
The Electric Prunes,
Outsiders,
Pharoah Sanders,
In Retrospect,
Jeff Mills,
Groovy Waters,
Q65, Q65, Q65, Q65.
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.