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 Haiti and from Paris.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Mumbai 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Kerrie Biddell to the grime 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 Oppenheimer Analysis. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Animal Collective record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Sixth Finger,
Saccharine Trust,
Steve Hackett,
Rowland S Howard / Lydia Lunch,
Talk Talk,
Scratch Acid,
Röyhkä ja Rättö ja Lehtisalo,
Sight & Sound,
The Blues Magoos,
Minnie Riperton,
Faust,
Joensuu 1685,
Eyeless In Gaza,
The Leaves,
T.S.O.L.,
David Axelrod,
Sad Lovers and Giants,
Harry Pussy,
Suburban Knight,
Schoolly D,
Ralphi Rosario,
The Modern Lovers,
Kauko Röyhkä ja Narttu,
Nirvana,
Warren Ellis,
Jacob Miller,
Neil Young & Crazy Horse,
Japan,
Harpers Bizarre,
The Walker Brothers,
Lungfish,
Rahsaan Roland Kirk,
These Immortal Souls,
Cluster,
DJ Sneak,
The Flesh Eaters,
Dark Day,
Animal Collective,
Adolescents,
Carl Craig,
Barry Ungar,
Pharaoh Sanders and the Fire Engines,
Second Layer,
The Gap Band,
Fear,
Slave,
Eve St. Jones,
Graham Central Station,
The Standells,
Oneida,
Banda Bassotti,
Cabaret Voltaire,
Justin Hinds & The Dominoes,
Bizarre Inc.,
Young Marble Giants,
Thompson Twins,
Bill Wells,
Gang Green,
John Lydon,
Robert Görl,
Boogie Down Productions,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.