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 Canada and from Lyon.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Manila.
I'm losing my edge to the art-school Jakarta 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the snare 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 KRS-One to the grunge 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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal crunk 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 a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Kaleidoscope,
Harpers Bizarre,
The Gap Band,
Traffic Nightmare,
Flamin' Groovies,
Ohio Players,
Lindisfarne,
The Blackbyrds,
Ash Ra Tempel,
Connie Case,
Essential Logic,
Jesper Dahlbäck,
Scion,
Electric Light Orchestra,
Art Ensemble Of Chicago,
Adolescents,
Bobby Byrd,
John Cale,
Lungfish,
Louis and Bebe Barron,
Dave Gahan,
Captain Beefheart & His Magic Band,
Procol Harum,
Amon Düül,
The Jesus and Mary Chain,
Crispian St. Peters,
Ultramagnetic MC's,
The Knickerbockers,
Subhumans,
Y Pants,
The Associates,
Drive Like Jehu,
Mandrill,
R.M.O.,
Fat Boys,
Matthew Bourne,
The Sonics,
the Swans,
Monks,
Beasts of Bourbon,
Dead Boys,
Heavy D & The Boyz,
The Beau Brummels,
The New Christs,
Freddie Wadling,
Stockholm Monsters,
Crooked Eye,
Porter Ricks,
The Cramps,
Jeff Mills,
Suicide,
Grandmaster Flash and the Furious Five,
Lalann,
Eurythmics,
Delta 5,
Sex Pistols,
Echospace,
Pharaoh Sanders and the Fire Engines,
Quantec,
Reuben Wilson,
Curtis Mayfield,
Harmonia, Harmonia, Harmonia, Harmonia.
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.