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 Rwanda and from Houston.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Seoul and Bologna.
I'm losing my edge to the art-school Philadelphia 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 marimba 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 Remains to the electroclash kids.
I played it at the Astoria.
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 Brick. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Black Moon 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 '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Ash Ra Tempel,
Godley & Creme,
Absolute Body Control,
Maurizio,
Q and Not U,
Supertramp,
Jeff Lynne,
Lonnie Liston Smith,
Lakeside,
Angels of Light & Akron/Family,
Marvin Gaye,
James Chance & The Contortions,
Beasts of Bourbon,
The Five Americans,
Tropical Tobacco,
ABBA,
Kerrie Biddell,
Notorious Big And Bone Thugs,
Scion,
The Smoke,
Steve Hackett,
John Foxx,
David Bowie,
Soft Machine,
Captain Beefheart & His Magic Band,
Rahsaan Roland Kirk,
Notorious BIG live in Amsterdam,
Pete Rock & C.L. Smooth,
Monolake,
Vladislav Delay,
Skaos,
The Move,
Japan,
Public Image Ltd.,
Procol Harum,
Sugar Minott,
Joy Division,
Justin Hinds & The Dominoes,
Max Romeo,
Sound Behaviour,
Rapeman,
Pulsallama,
Minnie Riperton,
The Doors,
Fort Wilson Riot,
Newcleus,
The Kinks,
Kerri Chandler,
Black Sheep,
Slick Rick,
FM Einheit,
R.M.O.,
Soul Sonic Force,
Arab on Radar,
Kevin Saunderson,
Jesper Dahlbäck,
The Shadows of Knight,
Jacques Brel,
Von Mondo,
Crooked Eye,
Rekid, Rekid, Rekid, Rekid.
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.