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 Taipei.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Mumbai 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer 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 Shuggie Otis to the jazz kids.
I played it at the Astoria.
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 Offenders. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Wire,
Lee Hazlewood,
Jandek,
Flash Fearless,
Janne Schatter,
The Neon Judgement,
Eddi Front,
Average White Band,
Aswad,
Procol Harum,
The Moleskins,
Bauhaus,
The Alarm Clocks,
the Swans,
Model 500,
Royal Trux,
Maurizio,
Sällskapet,
Super Lover Cee & Casanova Rud,
X-Ray Spex,
Gregory Isaacs,
Slick Rick,
The Pretty Things,
Neil Young,
The Human League,
Rod Modell,
Masters at Work,
Lalann,
the Normal,
Flipper,
Sex Pistols,
Terry Callier,
Althea and Donna,
Alton Ellis,
Kerrie Biddell,
Anakelly,
The Saints,
Kenny Larkin,
Cymande,
Newcleus,
Japan,
Bush Tetras,
Ultravox,
June of 44,
Deepchord,
Bluetip,
Nation of Ulysses,
Joy Division,
Orchestral Manoeuvres in the Dark,
Hashim,
Roy Ayers Ubiquity,
Ornette Coleman,
The Residents,
The Dave Clark Five,
Ultra Naté,
Ohio Players,
Arab on Radar,
Funky Four + One,
Eyeless In Gaza,
Patti Smith,
The Trojans, The Trojans, The Trojans, The Trojans.
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.