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 Angola and from Mumbai.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Spokane.
I'm losing my edge to the art-school Madrid 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Josef K to the electroclash 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 Sexual Harrassment. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal funk 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 arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Iggy Pop record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Fatback Band,
a-ha,
Bizarre Inc.,
Andrew Hill,
The Leaves,
The Moody Blues,
Pierre Henry,
The Saints,
Marc Almond,
The Victims,
E-Dancer,
Lou Reed & John Cale,
Harry Pussy,
Panda Bear,
Khruangbin,
Sight & Sound,
Sarah Menescal,
the Association,
Traffic Nightmare,
Joyce Sims,
Funkadelic,
Todd Terry,
Metal Thangz,
Heaven 17,
Negative Approach,
John Coltrane,
Alton Ellis,
Lou Christie,
Second Layer,
Rhythm & Sound,
Sugar Minott,
Laurel Aitken,
Siouxsie and the Banshees,
Scion,
Bobby Byrd,
Aswad,
Mary Jane Girls,
This Heat,
Hasil Adkins,
Amon Düül II,
Juan Atkins,
ABC,
Desert Stars,
Black Sheep,
Dorothy Ashby,
The Dirtbombs,
Sam Rivers,
The Kinks,
Roxy Music,
Rakim,
Gerry Rafferty,
The West Coast Pop Art Experimental Band,
Yazoo,
T. Rex,
Donald Byrd,
Jacob Miller,
L. Decosne,
Sticky Fingaz feat. Raekwon,
Sunsets and Hearts,
Main Source, Main Source, Main Source, Main Source.
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.