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 Suriname and from Mexico City.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Lyon 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the sitar 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 Au Pairs to the crunk kids.
I played it at Cafe Wha.
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 Joyce Sims. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Ten City,
Sight & Sound,
Half Japanese,
Lindisfarne,
Funky Four + One,
Alice Coltrane,
Blossom Toes,
Skarface,
Mark Hollis,
Stiv Bators,
Dark Day,
The Techniques,
Colin Newman,
Wire,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bobby Sherman,
Nico,
The Remains,
The Motions,
Heaven 17,
The Black Dice,
Underground Resistance,
Sun Ra,
The Sonics,
Louis and Bebe Barron,
Nick Cave & The Bad Seeds,
The Residents,
Liaisons Dangereuses,
Guru Guru,
The American Breed,
Barry Ungar,
Ralphi Rosario,
Amon Düül,
John Coltrane,
Nick Fraelich,
10cc,
Nirvana,
Blancmange,
Masters at Work,
Sun City Girls,
Spandau Ballet,
The Neon Judgement,
One Last Wish,
The Zeros,
Radio Birdman,
Lyres,
Television Personalities,
The Standells,
Neu!,
Grandmaster Flash and the Furious Five,
Lightning Bolt,
The Index,
Joey Negro,
Joyce Sims,
Pylon,
Fluxion,
Tres Demented,
Bob Dylan,
Gil Scott Heron,
The Golliwogs,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.