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 Eritrea and from Lagos.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Paris and Toronto.
I'm losing my edge to the art-school Delhi 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 at the first Suicide practice in a loft in New York.
I was working on the guitar 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 Grandmaster Flash and the Furious Five to the jazz kids.
I played it at Cafe Wha.
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 Young Marble Giants. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Shuggie Otis,
The Pop Group,
Stetsasonic,
Jacques Brel,
CMW,
Terror Squad Feat. Camron,
Minny Pops,
The Monks,
Ultimate Spinach,
The Mighty Diamonds,
Black Pus,
Wire,
Mark Hollis,
Fear,
The Flesh Eaters,
the Swans,
Soft Machine,
Television,
The Index,
Arab on Radar,
Orchestral Manoeuvres in the Dark,
Harmonia,
June Days,
Yaz,
Trumans Water,
Ituana,
Skriet,
The Walker Brothers,
Underground Resistance,
Funkadelic,
Deakin,
Chris Corsano,
Mad Mike,
David Bowie,
Newcleus,
Qualms,
Dual Sessions,
Bronski Beat,
The Move,
The Knickerbockers,
Man Eating Sloth,
Easy Going,
Suburban Knight,
Skarface,
Lyres,
the Association,
Marmalade,
the Normal,
The Neon Judgement,
The Gories,
Metal Thangz,
Kings Of Tomorrow,
Wasted Youth,
Super Lover Cee & Casanova Rud,
Lizzy Mercier Descloux,
Ken Boothe,
The Associates,
EPMD,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.