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 Azerbaijan and from Hong Kong.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Calgary 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 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 Negative Approach to the jazz kids.
I played it at the 40 Watt.
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 Matthew Bourne. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
T.S.O.L.,
The Sound,
Vaughan Mason & Crew,
Pere Ubu,
Yellowson,
Glambeats Corp.,
The Zeros,
Wire,
The Cramps,
Scott Walker + Sunn O))),
The Mojo Men,
Shuggie Otis,
Wally Richardson,
The Men They Couldn't Hang,
Ultra Naté,
Harmonia,
Wighnomy Brothers & Robag Wruhme,
Qualms,
Bootsy's Rubber Band,
Kool G Rap & DJ Polo,
Vladislav Delay,
Sarah Menescal,
Crime,
The J.B.'s,
The Motions,
X-101,
The Real Kids,
The Beau Brummels,
Sunsets and Hearts,
Ornette Coleman,
Brand Nubian,
Average White Band,
Jeff Lynne,
Throbbing Gristle,
Beasts of Bourbon,
The Knickerbockers,
Henry Cow,
Mission of Burma,
The Trojans,
Faust,
Shoche,
Rakim,
Rhythm & Sound,
Cymande,
Freddie Wadling,
Ronnie Foster,
Buzzcocks,
The New Christs,
the Slits,
Bobbi Humphrey,
Derrick Morgan,
Reuben Wilson,
DeepChord presents Echospace,
The Durutti Column,
Model 500,
Echospace,
Nick Fraelich,
Deadbeat,
AZ,
The Mummies, The Mummies, The Mummies, The Mummies.
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.