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 Hungary and from Jakarta.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Portland 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 Bluetip to the crunk kids.
I played it at the Roxy.
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 Red Lorry Yellow Lorry. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
AZ,
Stiv Bators,
Warsaw,
The Dirtbombs,
Porter Ricks,
The Offenders,
Erykah Badu,
Judy Mowatt,
Ponytail,
Mad Mike,
The West Coast Pop Art Experimental Band,
Saccharine Trust,
Rakim,
Television,
Harry Pussy,
Jawbox,
Black Moon,
Animal Collective,
Crispy Ambulance,
Danielle Patucci,
Graham Central Station,
Aswad,
Minny Pops,
Visionaries,LMNO, T- Love & Iriscience,
The Barracudas,
Sound Behaviour,
Captain Beefheart & His Magic Band,
Slave,
Dennis Brown,
John Cale,
Eric B and Rakim,
James White and The Blacks,
Dorothy Ashby,
Terry Callier,
Laurel Aitken,
UT,
The Men They Couldn't Hang,
Funkadelic,
The Sonics,
Strawberry Alarm Clock,
Wally Richardson,
Teenage Jesus and the Jerks,
Sad Lovers and Giants,
Gang Green,
Scientists,
Gong,
Soul II Soul,
Morten Harket,
Be Bop Deluxe,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lonnie Liston Smith,
Monks,
The Monochrome Set,
Bush Tetras,
Erasure,
Oneida,
The Flesh Eaters,
The Peanut Butter Conspiracy,
The New Christs,
Connie Case,
Electric Prunes,
The Cure, The Cure, The Cure, The Cure.
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.