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 the UAE and from Accra.
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 1976.
I'm losing my edge.
To all the kids in Toronto and New York.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron 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 Black Bananas to the crunk 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 Unwound. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
The Sisters of Mercy,
Mr. Review,
Fatback Band,
Negative Approach,
It's A Beautiful Day,
Bobby Womack,
Brass Construction,
Kerrie Biddell,
Thee Headcoats,
Das Ding,
Audionom,
Outsiders,
Gerry Rafferty,
Joey Negro,
Freddie Wadling,
The Associates,
Cal Tjader,
Kenny Larkin,
Big Daddy Kane,
Deakin,
The Monks,
Dual Sessions,
The Doobie Brothers,
Tropical Tobacco,
Oppenheimer Analysis,
Moby Grape,
the Germs,
Ralphi Rosario,
Aswad,
The Selecter,
Brothers Johnson,
Glambeats Corp.,
Darondo,
JFA,
Average White Band,
Porter Ricks,
Little Man,
ABBA,
Electric Light Orchestra,
The Fortunes,
Todd Rundgren,
The Mojo Men,
Con Funk Shun,
Radiohead,
Brick,
Lonnie Liston Smith,
Terrestrial Tones,
Bronski Beat,
Marvin Gaye,
Bush Tetras,
Dawn Penn,
Excepter,
Rowland S Howard / Lydia Lunch,
Michelle Simonal,
The Techniques,
Neil Young & Crazy Horse,
Connie Case,
Jacob Miller,
Echospace,
Fela Kuti,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.