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 Ecuador and from Paris.
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 1968 to 1974.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Tokyo 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Oneida to the grime kids.
I played it at the Roxy.
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 Suicide. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal techno 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Boredoms,
Black Pus,
Pagans,
David Axelrod,
Larry & the Blue Notes,
Moby Grape,
Inner City,
Gian Franco Pienzio,
Camouflage,
The Beau Brummels,
Neil Young,
the Association,
Los Fastidios,
Bauhaus,
Magma,
Trumans Water,
Icehouse,
Nas,
Easy Going,
Tim Buckley,
The Gun Club,
Camberwell Now,
The Durutti Column,
The Dirtbombs,
Kas Product,
The Cowsills,
Infiniti,
Parry Music,
New Age Steppers,
B.T. Express,
The Real Kids,
The Techniques,
Justin Hinds & The Dominoes,
Circle Jerks,
These Immortal Souls,
Danielle Patucci,
The Names,
Quadrant,
Sam Rivers,
Oppenheimer Analysis,
The Last Poets,
The Cure,
Ultramagnetic MC's,
Strawberry Alarm Clock,
Notorious Big And Bone Thugs,
Mr. Review,
Reagan Youth,
Anakelly,
a-ha,
Traffic Nightmare,
Royal Trux,
Darondo,
FM Einheit,
The Cramps,
Thee Headcoats,
Khruangbin,
Popol Vuh,
Steve Hackett,
Masters at Work,
Kings Of Tomorrow,
Kool Moe Dee,
Yaz, Yaz, Yaz, Yaz.
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.