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 Monaco and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Halifax 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Louis and Bebe Barron to the jazz kids.
I played it at Trash.
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 The Buckinghams. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Aswad 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cheater Slicks record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Warren Ellis,
Absolute Body Control,
The Shadows of Knight,
Aural Exciters,
The Mummies,
Dead Boys,
FM Einheit,
Gastr Del Sol,
Cal Tjader,
Guru Guru,
The United States of America,
Sister Nancy,
Derrick May,
Lonnie Liston Smith,
World's Most,
The Men They Couldn't Hang,
Big Daddy Kane,
Funkadelic,
Gil Scott-Heron and Jamie xx,
Mary Jane Girls,
The Leaves,
Joy Division,
Patti Smith,
Royal Trux,
Funky Four + One,
L. Decosne,
Gian Franco Pienzio,
Yazoo,
Moby Grape,
Delta 5,
Animal Collective,
Harpers Bizarre,
Nils Olav,
Sight & Sound,
Suburban Knight,
Gang Gang Dance,
Deadbeat,
X-Ray Spex,
Marcia Griffiths,
Minnie Riperton,
Fort Wilson Riot,
The Index,
Ultimate Spinach,
Davy DMX,
Minor Threat,
Kaleidoscope,
Lindisfarne,
Wings,
Tim Buckley,
The Stooges,
Richard Hell and the Voidoids,
Terrestrial Tones,
Gary Puckett & The Union Gap,
Pussy Galore,
Roxy Music,
Sarah Menescal,
Blake Baxter,
Crispy Ambulance,
Brass Construction,
Smog,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.