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 Portugal 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 1967 to 1973.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Tehran 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Erasure to the electroclash 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 Leonard Cohen. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Young Marble Giants,
48th St. Collective,
The Gap Band,
Joyce Sims,
Steve Hackett,
The Flesh Eaters,
Pantytec,
Lou Reed,
Scientists,
Pagans,
Zapp,
Japan,
The Red Krayola,
June of 44,
Mary Jane Girls,
Louis and Bebe Barron,
Ultravox,
Eve St. Jones,
Camberwell Now,
Yellowson,
Nas,
Josef K,
Suburban Knight,
Fifty Foot Hose,
The Cramps,
The Gories,
The Monochrome Set,
Iggy Pop,
Jandek,
Malaria!,
Drive Like Jehu,
Fort Wilson Riot,
Pantaleimon,
Harpers Bizarre,
H. Thieme,
The Dead C,
China Crisis,
World's Most,
Bluetip,
Panda Bear,
Maurizio,
Infiniti,
Aswad,
Jeru the Damaja,
Y Pants,
Colin Newman,
A Certain Ratio,
Sonny Sharrock,
Aural Exciters,
KRS-One,
Crispy Ambulance,
Barry Ungar,
Rhythm & Sound,
Brothers Johnson,
Pet Shop Boys,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.