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 Sierra Leone and from Houston.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Delhi and Accra.
I'm losing my edge to the art-school Portland 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes 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 Bill Near to the electroclash kids.
I played it at the Crocodile.
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 Major Organ And The Adding Machine. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your snare and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Vaughan Mason & Crew,
Sex Pistols,
John Lydon,
Fort Wilson Riot,
Bobby Sherman,
The Fuzztones,
Crime,
Royal Trux,
Jeru the Damaja,
Cecil Taylor,
The American Breed,
Tears for Fears,
Arab on Radar,
Rhythim Is Rhythim,
Electric Light Orchestra,
Selector Dub Narcotic,
Scientists,
Section 25,
Cluster,
Monolake,
Vladislav Delay,
The Gap Band,
Black Sheep,
Rod Modell,
Mantronix,
Joe Smooth,
Blake Baxter,
Gregory Isaacs,
Lightning Bolt,
E-Dancer,
Loose Ends,
a-ha,
Fad Gadget,
Ronan,
Amon Düül,
Echo & the Bunnymen,
David McCallum,
Sixth Finger,
Joensuu 1685,
Andrew Ashong & Theo Parrish,
The Cramps,
John Cale,
Essential Logic,
EPMD,
The Zeros,
L. Decosne,
Gang Green,
Drexciya,
Johnny Osbourne,
the Swans,
Robert Wyatt,
Groovy Waters,
Procol Harum,
Lebanon Hanover,
Barclay James Harvest,
Sugar Minott,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dead Boys,
Red Lorry Yellow Lorry,
Lafayette Afro Rock Band,
Piero Umiliani,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.