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 Ukraine and from Toronto.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Paris and Spokane.
I'm losing my edge to the art-school Manila 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Roxette to the funk kids.
I played it at the Spitz.
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 Men They Couldn't Hang tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Excepter,
Gabor Szabo,
The Invisible,
The Slackers,
Oneida,
Gil Scott-Heron and Jamie xx,
Godley & Creme,
Banda Bassotti,
The Zeros,
FM Einheit,
Alice Coltrane,
the Association,
Little Man,
a-ha,
Alison Limerick,
Max Romeo,
Suburban Knight,
Kerri Chandler,
John Lydon,
The Cramps,
Sällskapet,
Pantaleimon,
Archie Shepp,
Robert Hood,
Liliput,
The Moody Blues,
CMW,
Grandmaster Flash,
Quando Quango,
The Smoke,
Vaughan Mason & Crew,
LL Cool J,
Radiopuhelimet,
Pierre Henry,
It's A Beautiful Day,
Dr. Dre and Snoop Doggy Dog,
The Vogues,
Marvin Gaye,
David McCallum,
Derrick May,
Thinking Fellers Union Local 282,
Dead Boys,
Underground Resistance,
Country Joe & The Fish,
Jeff Mills,
Joey Negro,
The Move,
Kool G Rap & DJ Polo,
Hasil Adkins,
Larry & the Blue Notes,
Sam Rivers,
New York Dolls,
Bad Manners,
Faraquet,
Kayak,
Isaac Hayes,
Smog,
Sticky Fingaz feat. Raekwon,
Gong,
The Birthday Party,
Boogie Down Productions,
Bill Wells,
KRS-One,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.