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 Philippines and from Edmonton.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Winnipeg 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 guitar 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 Los Fastidios to the rap 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 Fortunes. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Procol Harum 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 '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Half Japanese,
Gil Scott-Heron & Brian Jackson,
Nation of Ulysses,
The Victims,
Brick,
Todd Terry,
Beasts of Bourbon,
Das Ding,
The Monochrome Set,
The Five Americans,
Be Bop Deluxe,
The Detroit Cobras,
Piero Umiliani,
Rosa Yemen,
Deepchord,
Al Stewart,
The Toasters,
Monks,
The Evens,
China Crisis,
Con Funk Shun,
Reuben Wilson,
Clear Light,
Bobby Womack,
Lalann,
Richard Hell and the Voidoids,
James White and The Blacks,
Negative Approach,
DeepChord presents Echospace,
La Düsseldorf,
Au Pairs,
Eric Copeland,
Neil Young & Crazy Horse,
Scan 7,
Grandmaster Flash,
Judy Mowatt,
The Leaves,
Qualms,
The Durutti Column,
Cameo,
Man Parrish,
Aaron Thompson,
Dave Gahan,
Black Bananas,
Brass Construction,
Barry Ungar,
LL Cool J,
Neil Young,
The Knickerbockers,
ABBA,
Banda Bassotti,
Mad Mike,
Zapp,
Sparks,
Lindisfarne,
Avey Tare & Kría Brekkan,
June Days,
This Heat,
Soft Machine,
Tres Demented,
Leonard Cohen,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.