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 Cambodia and from Edmonton.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Lyon 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 The Knickerbockers 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 Roger Hodgson. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
Masters at Work,
Bill Wells,
Howard Jones,
Public Enemy,
EPMD,
Eurythmics,
Symarip,
Roy Ayers,
Aloha Tigers,
Saccharine Trust,
Unrelated Segments,
Grandmaster Flash and the Furious Five,
OOIOO,
Jeff Mills,
Procol Harum,
Susan Cadogan,
The Peanut Butter Conspiracy,
Audionom,
DeepChord presents Echospace,
Country Joe & The Fish,
Chrome,
Amazonics,
Liaisons Dangereuses,
Terrestrial Tones,
Monks,
Arthur Verocai,
Eddi Front,
Sex Pistols,
Jeff Lynne,
Das Ding,
Thompson Twins,
Infiniti,
Schoolly D,
Kerrie Biddell,
Nation of Ulysses,
Chris & Cosey,
Ituana,
Delon & Dalcan,
The Velvet Underground,
Scrapy,
Nico,
The Shadows of Knight,
H. Thieme,
Joey Negro,
Model 500,
Motorama,
The Motions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tim Buckley,
Jandek,
Frankie Knuckles,
Clear Light,
James White and The Blacks,
Robert Wyatt,
48th St. Collective,
The Angels of Light,
The Blackbyrds,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.