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 Sri Lanka and from Sao Paulo.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Calgary and Seoul.
I'm losing my edge to the art-school Manchester 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 organ 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 Red Lorry Yellow Lorry to the jazz kids.
I played it at the Hacienda.
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 Sparks. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every The Grass Roots 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Kerrie Biddell,
X-Ray Spex,
Crispy Ambulance,
Faust,
Bizarre Inc.,
Boredoms,
Notorious Big And Bone Thugs,
Suicide,
Accadde A,
Public Enemy,
Kas Product,
Con Funk Shun,
The Last Poets,
Dual Sessions,
Johnny Clarke,
The Moleskins,
U.S. Maple,
Tres Demented,
Kool G Rap & DJ Polo,
Minor Threat,
Shoche,
Crooked Eye,
KRS-One,
Neil Young,
Joe Finger,
Ajijia Myrayebe,
Q65,
Amon Düül II,
Morten Harket,
Khruangbin,
The Mojo Men,
Nas,
CMW,
Bill Wells,
Liaisons Dangereuses,
The Victims,
Delon & Dalcan,
Faraquet,
Inner City,
Subhumans,
Severed Heads,
Moby Grape,
Radiohead,
Funkadelic,
Be Bop Deluxe,
Soul Sonic Force,
Kerri Chandler,
It's A Beautiful Day,
Robert Görl,
L. Decosne,
World's Most,
One Last Wish,
Banda Bassotti,
Dr. Dre and Snoop Doggy Dog,
Neil Young & Crazy Horse,
Grandmaster Flash,
Fela Kuti,
the Germs,
Albert Ayler,
Nik Kershaw,
John Holt, John Holt, John Holt, John Holt.
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.