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 Fiji and from Manchester.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Bologna 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 The Busters to the electroclash kids.
I played it at the 40 Watt.
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 Marshall Jefferson. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal rock 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Icehouse,
Curtis Mayfield,
Boredoms,
Oppenheimer Analysis,
Robert Hood,
The Martian,
The Seeds,
Moebius,
Glambeats Corp.,
Delta 5,
Captain Beefheart & His Magic Band,
Crispy Ambulance,
Public Enemy,
The Sound,
Model 500,
Spandau Ballet,
Infiniti,
Aural Exciters,
The Invisible,
John Cale,
Heavy D & The Boyz,
Todd Terry,
D'Angelo,
X-Ray Spex,
Glenn Branca,
The Royal Family And The Poor,
David Axelrod,
Fear,
Shoche,
It's A Beautiful Day,
Lalo Schifrin,
The Cure,
Avey Tare,
Lou Reed,
Index,
Public Image Ltd.,
Ossler,
Au Pairs,
Ultra Naté,
Gil Scott-Heron & Brian Jackson,
Suicide,
The Cosmic Jokers,
Arthur Verocai,
Barclay James Harvest,
Wolf Eyes,
The Golliwogs,
Marmalade,
Dennis Brown,
Television,
Magma,
Can,
Eric Copeland,
cv313,
Lou Reed & John Cale,
Brass Construction,
The Electric Prunes,
In Retrospect,
Roy Ayers Ubiquity,
Camron Feat. Jay Z And Juelz,
Spoonie Gee,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.