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 Tajikistan and from Winnipeg.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Madrid 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 1976 at the first Wire practice in a loft in Watford.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Larry & the Blue Notes to the punk 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 Alice Coltrane. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
James White and The Blacks,
Monolake,
Neil Young,
Teenage Jesus and the Jerks,
Arcadia,
Radio Birdman,
Gang Green,
Mars,
Todd Terry,
Soul II Soul,
Carl Craig,
Freddie Wadling,
Brass Construction,
Tropical Tobacco,
Skriet,
Soft Machine,
Jawbox,
The Durutti Column,
Ajijia Myrayebe,
Schoolly D,
Jacques Brel,
Rotary Connection,
Khruangbin,
the Normal,
The Pop Group,
Sällskapet,
Sad Lovers and Giants,
FM Einheit,
8 Eyed Spy,
Gregory Isaacs,
H. Thieme,
Tres Demented,
Rakim,
Sam Rivers,
Alphaville,
Boz Scaggs,
Ornette Coleman,
Lee Hazlewood,
Simply Red,
Rekid,
Lucky Dragons,
Pantytec,
Visage,
Selector Dub Narcotic,
The Vogues,
Nation of Ulysses,
The Slits,
Stockholm Monsters,
Pet Shop Boys,
Moebius,
Strawberry Alarm Clock,
Orchestral Manoeuvres in the Dark,
Ralphi Rosario,
The Monochrome Set,
a-ha,
Amazonics,
Anthony Braxton,
Barry Ungar,
The Smiths,
the Association,
Dark Day,
Altered Images,
Bobby Byrd,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.