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 Chad 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 1960 to 1978.
I'm losing my edge.
To all the kids in Cairo and Glasgow.
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 Holger Czukay 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 Index to the techno kids.
I played it at the 40 Watt.
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 Minny Pops. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Livin' Joy 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
June of 44,
Joe Smooth,
Barclay James Harvest,
Dorothy Ashby,
The Electric Prunes,
Index,
Bobby Byrd,
Eve St. Jones,
Youth Brigade,
Moby Grape,
The Golliwogs,
Smog,
Saccharine Trust,
Dennis Brown,
the Sonics,
kango's stein massive,
Aural Exciters,
Second Layer,
Barry Ungar,
Sam Rivers,
Gong,
Public Image Ltd.,
Juan Atkins,
Delon & Dalcan,
Albert Ayler,
Malaria!,
Pylon,
Jeru the Damaja,
Roxy Music,
The Gladiators,
Ten City,
Bad Manners,
Underground Resistance,
Alphaville,
The Tremeloes,
The West Coast Pop Art Experimental Band,
Lindisfarne,
Trumans Water,
Sandy B,
Ajijia Myrayebe,
The Slits,
LL Cool J,
Man Eating Sloth,
Section 25,
Bluetip,
Sun City Girls,
Nils Olav,
Tears for Fears,
Ornette Coleman,
Carl Craig,
Teenage Jesus and the Jerks,
Swell Maps,
Electric Prunes,
Ash Ra Tempel,
Panda Bear,
Grey Daturas,
Motorama,
Cybotron,
The United States of America,
the Bar-Kays,
The Divine Comedy,
One Last Wish,
The Mummies, The Mummies, The Mummies, The Mummies.
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.