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 Vanuatu and from Tehran.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Glasgow 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 snare sounds with much patience.
I was there when Donald Fagen 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 The Alarm Clocks to the dance 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 Soulsonic Force. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Albert Ayler,
Strawberry Alarm Clock,
Gregory Isaacs,
the Bar-Kays,
The Durutti Column,
Marvin Gaye,
the Slits,
Model 500,
Essential Logic,
Larry & the Blue Notes,
The Dirtbombs,
the Normal,
Hot Snakes,
Lyres,
Juan Atkins,
Lafayette Afro Rock Band,
Eden Ahbez,
Ornette Coleman,
Magma,
Depeche Mode,
The Moody Blues,
Donald Byrd,
The Grass Roots,
Graham Central Station,
Ituana,
Crooked Eye,
Lebanon Hanover,
Mo-Dettes,
Gabor Szabo,
Aaron Thompson,
Nick Fraelich,
Amazonics,
Ken Boothe,
Rod Modell,
Gang Starr,
Harmonia,
Royal Trux,
Joyce Sims,
The Gladiators,
X-101,
Ultravox,
Jawbox,
David Bowie,
Wings,
Sällskapet,
Schoolly D,
Altered Images,
Hoover,
Laurel Aitken,
Al Stewart,
The Jesus and Mary Chain,
Rahsaan Roland Kirk,
10cc,
Neil Young,
Lizzy Mercier Descloux,
DJ Sneak,
The Sonics,
Sun Ra,
Hasil Adkins,
A Flock of Seagulls,
Radiohead, Radiohead, Radiohead, Radiohead.
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.