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 Swaziland and from Seoul.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Accra.
I'm losing my edge to the art-school Accra 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 Letta Mbulu to the rock 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 Loose Ends. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Carl Craig 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Jimmy McGriff,
Peter and Kerry,
Ken Boothe,
Lucky Dragons,
Silicon Teens,
The Moody Blues,
The Selecter,
Throbbing Gristle,
Unwound,
Barbara Tucker,
Pete Rock & C.L. Smooth,
Moss Icon,
Larry & the Blue Notes,
Amon Düül,
Gang of Four,
Sun Ra,
The Kinks,
Gary Puckett & The Union Gap,
Oblivians,
Stiv Bators,
Neil Young & Crazy Horse,
Colin Newman,
Avey Tare's Slasher Flicks,
This Heat,
H. Thieme,
Funkadelic,
The Detroit Cobras,
Curtis Mayfield,
The Associates,
Desert Stars,
Echospace,
E-Dancer,
Major Organ And The Adding Machine,
Quando Quango,
Charles Mingus,
Surgeon,
The Gladiators,
Notorious Big And Bone Thugs,
Robert Hood,
Howard Jones,
Tommy Roe,
Byron Stingily,
Slick Rick,
Audionom,
Mark Hollis,
The Doors,
Jacques Brel,
The Fall,
The West Coast Pop Art Experimental Band,
The Fortunes,
ABBA,
Lizzy Mercier Descloux,
The Walker Brothers,
Public Enemy,
Ultravox,
The Move,
Infiniti,
Cluster,
Derrick May,
Heaven 17,
Outsiders,
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.