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 Seychelles and from Milan.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Bremen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Lungfish 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 Bauhaus. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Grandmaster Flash 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 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 Kinks,
John Coltrane,
Suburban Knight,
Black Moon,
Major Organ And The Adding Machine,
Masters at Work,
The Smiths,
Organ,
Aswad,
The Names,
Red Lorry Yellow Lorry,
Peter Gordon & Love of Life Orchestra,
Surgeon,
Sun Ra,
Soft Cell,
a-ha,
The Blues Magoos,
John Cale,
Simply Red,
The Techniques,
Deadbeat,
Subhumans,
X-102,
The Knickerbockers,
Pylon,
Sparks,
Avey Tare,
Ronnie Foster,
Swell Maps,
Aural Exciters,
The Pop Group,
Justin Hinds & The Dominoes,
Delon & Dalcan,
Sexual Harrassment,
The Cramps,
Babytalk,
Lou Christie,
Ralphi Rosario,
The Divine Comedy,
Drexciya,
Stockholm Monsters,
The Walker Brothers,
Anthony Braxton,
D'Angelo,
Chrome,
Jesper Dahlback,
Cameo,
Blake Baxter,
Gong,
PIL,
Metal Thangz,
Crispy Ambulance,
The Vogues,
Siglo XX,
Scott Walker,
Section 25,
Electric Light Orchestra,
the Bar-Kays,
Barclay James Harvest,
The Mojo Men,
X-101,
Liliput,
Boredoms, Boredoms, Boredoms, Boredoms.
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.