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 Senegal and from Sao Paulo.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Milan 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 Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Jawbox to the dance kids.
I played it at the Troubador.
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 Nas. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Animal Collective 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Grandmaster Flash,
Babytalk,
the Swans,
Little Man,
Oneida,
Sparks,
Soulsonic Force,
Jacques Brel,
Negative Approach,
Althea and Donna,
Wally Richardson,
Rhythim Is Rhythim,
Hasil Adkins,
The Electric Prunes,
Charles Mingus,
Bluetip,
Mandrill,
The Skatalites,
Dual Sessions,
Unwound,
Brothers Johnson,
The Durutti Column,
Bootsy's Rubber Band,
Josef K,
Inner City,
Boz Scaggs,
Malaria!,
Piero Umiliani,
Black Pus,
Roy Ayers,
Letta Mbulu,
The Happenings,
Scrapy,
Drexciya,
Marmalade,
Gerry Rafferty,
Excepter,
Angry Samoans,
Ohio Players,
Scratch Acid,
Moss Icon,
Steve Hackett,
The Gun Club,
Smog,
Prince Buster,
Pere Ubu,
Stockholm Monsters,
The Monochrome Set,
Johnny Osbourne,
Freddie Wadling,
Sly & The Family Stone,
Clear Light,
Moebius,
Bobby Hutcherson,
June Days,
Bobby Byrd,
Howard Jones,
The Selecter,
Erasure,
N.O.R.E. Featuring Pharrell,
Slave, Slave, Slave, Slave.
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.