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 Sweden and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Bologna 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 June Days to the electroclash kids.
I played it at Trash.
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 Brothers Johnson. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Thee Headcoats,
New Age Steppers,
Grauzone,
Marine Girls,
Pulsallama,
Derrick May,
Rotary Connection,
The Sound,
Interpol,
Infiniti,
Can,
Metal Thangz,
Theoretical Girls,
Organ,
Babytalk,
Lightning Bolt,
Reuben Wilson,
Oppenheimer Analysis,
The Monochrome Set,
Peter and Kerry,
ABBA,
Sunsets and Hearts,
Matthew Bourne,
Juan Atkins,
Dual Sessions,
Ronnie Foster,
Talk Talk,
Rufus Thomas,
Gary Puckett & The Union Gap,
Make Up,
Sugar Minott,
K-Klass,
Sun Ra Arkestra,
Brand Nubian,
Barclay James Harvest,
The Dead C,
China Crisis,
Popol Vuh,
The Vogues,
Television Personalities,
La Düsseldorf,
Mark Hollis,
Saccharine Trust,
Drive Like Jehu,
Cymande,
Young Marble Giants,
Pylon,
Second Layer,
Piero Umiliani,
Oneida,
Joey Negro,
DJ Style,
Cabaret Voltaire,
Colin Newman,
Matthew Halsall,
The United States of America,
Flipper,
Lafayette Afro Rock Band,
Duran Duran,
Loose Ends,
The Victims,
Mars, Mars, Mars, Mars.
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.