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 Colombia and from Lyon.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Columbus 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 oboe 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 Derrick May to the jazz 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 Von Mondo. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
Drive Like Jehu,
Hashim,
Whodini,
Crispy Ambulance,
Roger Hodgson,
Fort Wilson Riot,
Rakim,
Carl Craig,
cv313,
B.T. Express,
OOIOO,
Scrapy,
Amon Düül II,
Graham Central Station,
Camron Feat. Memphis Bleek And Beenie Seigel,
Brass Construction,
The Selecter,
Black Bananas,
Pagans,
The Music Machine,
Little Man,
Suicide,
Nation of Ulysses,
The Motions,
JFA,
Fugazi,
Crispian St. Peters,
Tim Buckley,
Roxette,
Dennis Brown,
Panda Bear,
T.S.O.L.,
Reuben Wilson,
Gerry Rafferty,
The Birthday Party,
FM Einheit,
Freddie Wadling,
Oppenheimer Analysis,
The American Breed,
Be Bop Deluxe,
Lou Christie,
The Busters,
DJ Sneak,
Tommy Roe,
Rapeman,
Ronnie Foster,
Lou Reed,
The Fuzztones,
Al Stewart,
Red Lorry Yellow Lorry,
Sällskapet,
Trumans Water,
Simply Red,
Althea and Donna,
Arab on Radar,
Davy DMX,
Chris Corsano,
Henry Cow,
Ajijia Myrayebe,
Kauko Röyhkä ja Narttu,
Bobby Womack,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.