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 Uganda and from Portland.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Glasgow 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 snare sounds with much patience.
I was there when Donald Fagen 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 Joensuu 1685 to the dance kids.
I played it at the Troubador.
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 The Black Dice. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Thee Headcoats,
The Fortunes,
The Sound,
Nas,
Neil Young & Crazy Horse,
Michelle Simonal,
Jacob Miller,
The Gun Club,
Slick Rick,
Con Funk Shun,
Pantytec,
The Men They Couldn't Hang,
Harpers Bizarre,
Derrick May,
The Motions,
The Dirtbombs,
The Cramps,
Big Daddy Kane,
Oppenheimer Analysis,
The Kinks,
Peter Gordon & Love of Life Orchestra,
Swans,
Marshall Jefferson,
Grey Daturas,
Funkadelic,
Delon & Dalcan,
The Fugs,
Sad Lovers and Giants,
Sun Ra Arkestra,
F. McDonald,
Throbbing Gristle,
Masters at Work,
Nick Cave & The Bad Seeds,
Cheater Slicks,
Nik Kershaw,
Manfred Mann's Earth Band,
Archie Shepp,
The Names,
Crispian St. Peters,
Skaos,
Gerry Rafferty,
Groovy Waters,
Ornette Coleman,
Camouflage,
Aural Exciters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Cluster,
Cybotron,
The Birthday Party,
Oneida,
Deepchord,
Sound Behaviour,
The Moody Blues,
Red Lorry Yellow Lorry,
Scott Walker + Sunn O))),
Radiopuhelimet,
Negative Approach,
Flamin' Groovies,
Blossom Toes,
Fluxion,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.