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 Maldives and from Paris.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Manila and Lille.
I'm losing my edge to the art-school Winnipeg 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Cluster to the jazz kids.
I played it at the Astoria.
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 Nas. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every David McCallum 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Delon & Dalcan,
Erasure,
Interpol,
X-101,
Notorious BIG live in Amsterdam,
Oneida,
Gichy Dan,
Schoolly D,
Black Sheep,
Marshall Jefferson,
The Fire Engines,
Crispian St. Peters,
The Blackbyrds,
UT,
Dave Gahan,
Barbara Tucker,
Groovy Waters,
Spandau Ballet,
Wighnomy Brothers & Robag Wruhme,
Brass Construction,
Yusef Lateef,
Camouflage,
Icehouse,
Barrington Levy,
Grandmaster Flash and the Furious Five,
Blancmange,
Angels of Light & Akron/Family,
Sticky Fingaz feat. Raekwon,
Notorious Big And Bone Thugs,
Bad Manners,
The Index,
Fad Gadget,
Hoover,
Glambeats Corp.,
Rotary Connection,
Mars,
Rekid,
Peter & Gordon,
Section 25,
Shoche,
Sad Lovers and Giants,
Deepchord,
A Certain Ratio,
Joyce Sims,
F. McDonald,
Slave,
Pierre Henry,
The Modern Lovers,
Jacob Miller,
U.S. Maple,
Howard Jones,
Grauzone,
Anakelly,
Archie Shepp,
Kayak,
Manfred Mann's Earth Band,
Pet Shop Boys,
Japan,
Skarface,
Wally Richardson,
Masters at Work,
The Vogues, The Vogues, The Vogues, The Vogues.
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.