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 Sudan and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Halifax 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Marshall Jefferson 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 Kenny Larkin. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Circle Jerks,
T.S.O.L.,
Fifty Foot Hose,
Brand Nubian,
Lalo Schifrin,
The Associates,
One Last Wish,
Juan Atkins,
Harmonia,
Marcia Griffiths,
Audionom,
Interpol,
The Alarm Clocks,
Ajijia Myrayebe,
Mr. Review,
H. Thieme,
The Move,
Moby Grape,
China Crisis,
David Axelrod,
Lou Reed & John Cale,
Lungfish,
Jacob Miller,
Ponytail,
Terror Squad Feat. Camron,
Subhumans,
Matthew Halsall,
Guru Guru,
The West Coast Pop Art Experimental Band,
Lightning Bolt,
Idris Muhammad,
Soft Machine,
Röyhkä ja Rättö ja Lehtisalo,
Godley & Creme,
Depeche Mode,
Bootsy Collins,
Gary Puckett & The Union Gap,
Kool G Rap & DJ Polo,
Mary Jane Girls,
Funkadelic,
Clear Light,
Grauzone,
Michelle Simonal,
Urselle,
Procol Harum,
Kurtis Blow,
Be Bop Deluxe,
Lizzy Mercier Descloux,
Electric Prunes,
The Pretty Things,
Con Funk Shun,
The Seeds,
Camberwell Now,
It's A Beautiful Day,
Wire,
Chrome,
Gang of Four,
Dawn Penn,
Jerry's Kids,
Fatback Band,
The American Breed, The American Breed, The American Breed, The American Breed.
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.