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 Yemen and from Winnipeg.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Second Layer to the dance kids.
I played it at the Spitz.
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 CMW. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Aswad 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
The Detroit Cobras,
The Litter,
Oneida,
John Cale,
F. McDonald,
DeepChord presents Echospace,
The Moody Blues,
PIL,
The American Breed,
EPMD,
Wire,
Richard Hell and the Voidoids,
Judy Mowatt,
The Raincoats,
Henry Cow,
R.M.O.,
Faust,
The Smiths,
Maurizio,
Procol Harum,
The Saints,
L. Decosne,
Aaron Thompson,
Joe Finger,
Pulsallama,
Maleditus Sound,
Sam Rivers,
Kerri Chandler,
Dawn Penn,
Television Personalities,
Glambeats Corp.,
Popol Vuh,
Andrew Hill,
Darondo,
Erykah Badu,
Kurtis Blow,
Easy Going,
Ash Ra Tempel,
Metal Thangz,
Youth Brigade,
Joy Division,
It's A Beautiful Day,
Adolescents,
Talk Talk,
Grandmaster Flash and the Furious Five,
Nik Kershaw,
New Age Steppers,
Suburban Knight,
Selector Dub Narcotic,
The West Coast Pop Art Experimental Band,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
Quadrant,
Avey Tare,
Avey Tare's Slasher Flicks,
Simply Red,
Blake Baxter,
Todd Rundgren,
Icehouse,
Rakim,
The Smoke,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Deakin, Deakin, Deakin, Deakin.
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.