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 Palau and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1974.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Mumbai 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 A Certain Ratio to the rap 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 Ten City. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Cheater Slicks 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones 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?
Ralphi Rosario,
kango's stein massive,
L. Decosne,
the Sonics,
Qualms,
Das Ding,
Robert Wyatt,
The Moleskins,
Radio Birdman,
Nik Kershaw,
The Sisters of Mercy,
Outsiders,
Ajijia Myrayebe,
Ten City,
Pantytec,
Von Mondo,
Essential Logic,
Lalann,
Colin Newman,
Kerri Chandler,
Ohio Players,
Prince Buster,
Sly & The Family Stone,
The Index,
Darondo,
Joey Negro,
Maleditus Sound,
Harry Pussy,
Animal Collective,
Tres Demented,
Ken Boothe,
Soulsonic Force,
Monolake,
The Skatalites,
Visionaries,LMNO, T- Love & Iriscience,
Black Sheep,
Television Personalities,
Marshall Jefferson,
Eli Mardock,
Black Bananas,
The Toasters,
The Names,
Be Bop Deluxe,
Thompson Twins,
Heaven 17,
K-Klass,
Model 500,
June of 44,
The Kinks,
Orchestral Manoeuvres in the Dark,
Albert Ayler,
Alton Ellis,
Eyeless In Gaza,
Angry Samoans,
Rowland S Howard / Lydia Lunch,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Marc Romboy vs. Booka Shade,
Louis and Bebe Barron,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.