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 Rwanda and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 Pharoah Sanders to the electroclash 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 Arcadia. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal techno 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Pharaoh Sanders and the Fire Engines,
The Grass Roots,
Mandrill,
Carl Craig,
Intrusion,
Tomorrow,
OOIOO,
Justin Hinds & The Dominoes,
Roy Ayers,
Excepter,
Khruangbin,
Little Man,
Theoretical Girls,
Sexual Harrassment,
Icehouse,
the Swans,
Altered Images,
Eli Mardock,
Siglo XX,
T. Rex,
Rekid,
Bill Near,
Maleditus Sound,
Erasure,
Pagans,
Rufus Thomas,
Basic Channel,
Andrew Hill,
Wings,
New York Dolls,
The Searchers,
Quadrant,
The Techniques,
Blossom Toes,
X-Ray Spex,
Flash Fearless,
Camberwell Now,
Radiopuhelimet,
Thinking Fellers Union Local 282,
Loose Ends,
Deadbeat,
Harmonia,
The Sisters of Mercy,
The Electric Prunes,
Kerri Chandler,
Franke,
Glambeats Corp.,
Technova,
D'Angelo,
Kool G Rap & DJ Polo,
Fifty Foot Hose,
Suburban Knight,
EPMD,
Wighnomy Brothers & Robag Wruhme,
June Days,
The Mighty Diamonds,
New Age Steppers,
Warsaw,
The Leaves,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.