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 Rwanda and from Stockholm.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Toronto and Lille.
I'm losing my edge to the art-school Woodstock 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Robert Hood to the disco kids.
I played it at CBGB's.
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 Davy DMX. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Eli Mardock 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Carl Craig,
Lucky Dragons,
Marc Almond,
Laurel Aitken,
Brand Nubian,
Bill Near,
Ken Boothe,
David Axelrod,
AZ,
Colin Newman,
The Sisters of Mercy,
Morten Harket,
JFA,
One Last Wish,
Jeru the Damaja,
Porter Ricks,
Jesper Dahlbäck,
Mandrill,
Ponytail,
Urselle,
New York Dolls,
Lower 48,
La Düsseldorf,
Roger Hodgson,
L. Decosne,
Supertramp,
The Dave Clark Five,
Sister Nancy,
Rhythim Is Rhythim,
Underground Resistance,
Avey Tare & Kría Brekkan,
Sun City Girls,
Avey Tare's Slasher Flicks,
Dark Day,
Marshall Jefferson,
The Knickerbockers,
Michelle Simonal,
Sexual Harrassment,
Brass Construction,
The Grass Roots,
Dorothy Ashby,
Royal Trux,
Country Teasers,
Neil Young & Crazy Horse,
The Gun Club,
The Modern Lovers,
Art Ensemble Of Chicago,
Barclay James Harvest,
The Residents,
Oblivians,
Malaria!,
Neu!,
Main Source,
The Moleskins,
Fela Kuti,
Derrick May,
Susan Cadogan,
Orchestral Manoeuvres in the Dark,
The Happenings,
The Index, The Index, The Index, The Index.
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.