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 Mongolia and from Bremen.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
I'm losing my edge to the art-school Delhi 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 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 Jerry Gold Smith to the grunge 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 Dual Sessions. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Monolake 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
The Residents,
Tomorrow,
Howard Jones,
Albert Ayler,
The Barracudas,
Rhythm & Sound,
Ultimate Spinach,
Brass Construction,
Zapp,
Outsiders,
Neil Young & Crazy Horse,
Henry Cow,
Lizzy Mercier Descloux,
Altered Images,
The Fortunes,
X-101,
Duran Duran,
Silicon Teens,
James White and The Blacks,
The Five Americans,
Funkadelic,
Malaria!,
Siouxsie and the Banshees,
Slave,
Inner City,
Cal Tjader,
Soft Cell,
Desert Stars,
Fatback Band,
Nik Kershaw,
Lou Reed,
Notorious Big And Bone Thugs,
Spandau Ballet,
Mark Hollis,
Faust,
Young Marble Giants,
Reuben Wilson,
Ralphi Rosario,
Strawberry Alarm Clock,
David Bowie,
Monolake,
Khruangbin,
Art Ensemble Of Chicago,
Niagra,
T. Rex,
Rekid,
Gian Franco Pienzio,
AZ,
The Searchers,
Ajijia Myrayebe,
Main Source,
The Slackers,
New Order,
Amon Düül II,
Steve Hackett,
Monks,
Black Pus,
Gary Puckett & The Union Gap,
Half Japanese,
Danielle Patucci,
PIL,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.