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 San Marino and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Beijing and Calgary.
I'm losing my edge to the art-school Houston 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 Tom Verlaine 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 The Wake to the electroclash 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 Avey Tare. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Urselle,
the Bar-Kays,
Soul Sonic Force,
K-Klass,
Tim Buckley,
Au Pairs,
Siglo XX,
Andrew Ashong & Theo Parrish,
Tropical Tobacco,
Major Organ And The Adding Machine,
Crispian St. Peters,
Josef K,
Bang on a Can All-Stars,
Grandmaster Flash,
The Associates,
Man Eating Sloth,
Fear,
The Fall,
Slick Rick,
The Tremeloes,
London Community Gospel Choir,
The Fuzztones,
Peter & Gordon,
Bobbi Humphrey,
Louis and Bebe Barron,
Newcleus,
Nils Olav,
The Trojans,
The Star Department,
Hot Snakes,
Lindisfarne,
Lonnie Liston Smith,
Sun Ra,
Popol Vuh,
Pharaoh Sanders and the Fire Engines,
The Flesh Eaters,
Ten City,
Unrelated Segments,
Amon Düül,
Essential Logic,
Bill Wells,
Underground Resistance,
Cabaret Voltaire,
The Gun Club,
Adolescents,
The Litter,
Deadbeat,
Barrington Levy,
Marvin Gaye,
The Victims,
Radio Birdman,
Lower 48,
Sad Lovers and Giants,
Swans,
The Fugs,
Donny Hathaway,
Scion,
Dead Boys,
Quando Quango,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.