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 Haiti and from Bremen.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Cairo and Bologna.
I'm losing my edge to the art-school Portland 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Monks to the dance kids.
I played it at CBGB's.
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 PIL. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wasted Youth,
Royal Trux,
Main Source,
Spandau Ballet,
Vainqueur,
Gong,
Howard Jones,
Marine Girls,
MDC,
Röyhkä ja Rättö ja Lehtisalo,
Guru Guru,
The Birthday Party,
Inner City,
Roxette,
Kerrie Biddell,
Y Pants,
DNA,
Eve St. Jones,
Red Lorry Yellow Lorry,
Tres Demented,
Wings,
Mandrill,
Nation of Ulysses,
Pierre Henry,
X-Ray Spex,
Ornette Coleman,
The Smoke,
Public Image Ltd.,
The Motions,
Easy Going,
The Vogues,
MC5,
Ultramagnetic MC's,
Blossom Toes,
Symarip,
Fad Gadget,
Junior Murvin,
Nas,
Ludus,
Gastr Del Sol,
Heavy D & The Boyz,
L. Decosne,
Matthew Bourne,
Niagra,
The Slits,
Masters at Work,
This Heat,
Andrew Ashong & Theo Parrish,
James White and The Blacks,
Crispy Ambulance,
FM Einheit,
New Age Steppers,
The Gun Club,
Patti Smith,
Major Organ And The Adding Machine,
Dark Day,
Gang Green,
Isaac Hayes,
H. Thieme,
Eric Dolphy,
Livin' Joy,
Adolescents,
Ice-T,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.