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 Lebanon and from Houston.
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 Mexico City and Mumbai.
I'm losing my edge to the art-school Paris 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 spring reverb 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 DJ Sneak to the punk 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 John Holt. All the underground hits.
All ABC tracks. I heard you have a vinyl of every New York Dolls 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
The Last Poets,
the Soft Cell,
Television Personalities,
The Associates,
One Last Wish,
Barclay James Harvest,
kango's stein massive,
The Durutti Column,
Tim Buckley,
A Certain Ratio,
48th St. Collective,
A Flock of Seagulls,
Chris Corsano,
The Barracudas,
Eric Dolphy,
Isaac Hayes,
The Leaves,
The Blackbyrds,
Manfred Mann's Earth Band,
Jandek,
Severed Heads,
Grey Daturas,
Rahsaan Roland Kirk,
The Busters,
It's A Beautiful Day,
Masters at Work,
Con Funk Shun,
Bill Wells,
Minutemen,
Lalo Schifrin,
Lightning Bolt,
Pylon,
Lungfish,
Selector Dub Narcotic,
The Doors,
The Electric Prunes,
Yellowson,
Dawn Penn,
Heavy D & The Boyz,
Sound Behaviour,
the Swans,
Sight & Sound,
Cheater Slicks,
the Slits,
Bluetip,
Peter and Kerry,
Alice Coltrane,
Chris & Cosey,
The Beau Brummels,
Bush Tetras,
T.S.O.L.,
Flipper,
Crispian St. Peters,
Traffic Nightmare,
Negative Approach,
Fifty Foot Hose,
Kool G Rap & DJ Polo,
Trumans Water,
Pole,
The Residents, The Residents, The Residents, The Residents.
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.