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 Montenegro and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Lille.
I'm losing my edge to the art-school Salvador 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Juan Atkins to the disco 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 Peter & Gordon. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Ultramagnetic MC's 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
The Human League,
Hashim,
Buzzcocks,
B.T. Express,
Mo-Dettes,
Henry Cow,
Ten City,
Oneida,
Fluxion,
The Victims,
K-Klass,
Pharaoh Sanders and the Fire Engines,
The West Coast Pop Art Experimental Band,
Amazonics,
the Human League,
Hoover,
Marc Romboy vs. Booka Shade,
Jacques Brel,
Jawbox,
Rosa Yemen,
Chris Corsano,
A Certain Ratio,
Sunsets and Hearts,
Sugar Minott,
Pete Rock & C.L. Smooth,
Kas Product,
Andrew Hill,
Procol Harum,
Pet Shop Boys,
Whodini,
New Order,
The Moody Blues,
Motorama,
Warren Ellis,
the Swans,
Ice-T,
Sister Nancy,
Main Source,
Von Mondo,
Newcleus,
The Offenders,
The Angels of Light,
The Red Krayola,
Harpers Bizarre,
Essential Logic,
Mars,
June Days,
Wighnomy Brothers & Robag Wruhme,
Aloha Tigers,
The Martian,
Guru Guru,
UT,
Eric Copeland,
X-101,
The Grass Roots,
The Shadows of Knight,
Ash Ra Tempel,
a-ha,
The Royal Family And The Poor,
Avey Tare & Kría Brekkan,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.