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 United States and from Lyon.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 The Walker Brothers to the grunge kids.
I played it at the Hacienda.
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 Heavy D & The Boyz. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Magazine,
Quadrant,
Janne Schatter,
Young Marble Giants,
The Music Machine,
The Buckinghams,
Eric B and Rakim,
Black Flag,
Sly & The Family Stone,
Roy Ayers Ubiquity,
Funky Four + One,
Anthony Braxton,
Darondo,
Sad Lovers and Giants,
Harpers Bizarre,
Mars,
The New Christs,
Lou Reed & John Cale,
Neil Young,
Heavy D & The Boyz,
The Jesus and Mary Chain,
The Selecter,
Q65,
Maurizio,
Marvin Gaye,
Hasil Adkins,
Thinking Fellers Union Local 282,
Crispian St. Peters,
Boogie Down Productions,
X-102,
Pere Ubu,
Scott Walker,
AZ,
Patti Smith,
Rod Modell,
Mission of Burma,
Tubeway Army,
Terry Callier,
Sex Pistols,
In Retrospect,
Funkadelic,
Absolute Body Control,
Grandmaster Flash and the Furious Five,
Simply Red,
Brothers Johnson,
Kevin Saunderson,
Matthew Bourne,
Public Enemy,
Visionaries,LMNO, T- Love & Iriscience,
Minor Threat,
The Electric Prunes,
Eddi Front,
The Slackers,
Liliput,
Big Daddy Kane,
The Knickerbockers,
Soft Machine,
Donny Hathaway,
Graham Central Station,
Black Pus,
Kenny Larkin,
Von Mondo,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.