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 Argentina and from Manila.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Spokane and Philadelphia.
I'm losing my edge to the art-school Toronto 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 Chic practice in a loft in New York.
I was working on the mellotron 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 Mark Hollis to the crunk kids.
I played it at the Astoria.
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 Lee Hazlewood. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '80s cut and another box set from the '70s.
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 The Real Kids record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Graham Central Station,
Joe Finger,
Mark Hollis,
New York Dolls,
Jimmy McGriff,
Urselle,
Sound Behaviour,
Nick Fraelich,
Maleditus Sound,
Unrelated Segments,
Frankie Knuckles,
Gichy Dan,
Khruangbin,
Jawbox,
Louis and Bebe Barron,
Ronan,
The Gap Band,
Rhythm & Sound,
The American Breed,
Rahsaan Roland Kirk,
Blancmange,
Ash Ra Tempel,
Skarface,
Ossler,
Steve Hackett,
The Neon Judgement,
Avey Tare,
X-102,
Agitation Free,
Cabaret Voltaire,
Mad Mike,
Electric Light Orchestra,
Whodini,
June Days,
Swans,
Tommy Roe,
Fort Wilson Riot,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Marine Girls,
Blake Baxter,
The Offenders,
Lucky Dragons,
The Blues Magoos,
Gang Gang Dance,
Lou Reed & Metallica,
Adolescents,
Wighnomy Brothers & Robag Wruhme,
Rhythim Is Rhythim,
Animal Collective,
Barry Ungar,
Scan 7,
Gang of Four,
Chris & Cosey,
The New Christs,
Jeru the Damaja,
Flipper,
The Angels of Light,
Wire,
Ken Boothe,
Lakeside, Lakeside, Lakeside, Lakeside.
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.