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 Austria and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1978.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Tom Boy to the rap 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 Judy Mowatt. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Marcia Griffiths 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
Icehouse,
Marcia Griffiths,
Glambeats Corp.,
Albert Ayler,
Larry & the Blue Notes,
Talk Talk,
The Gap Band,
Average White Band,
Niagra,
Rakim,
Sister Nancy,
Notorious BIG live in Amsterdam,
Mr. Review,
Mad Mike,
Donny Hathaway,
Lou Reed & John Cale,
The Birthday Party,
Jerry Gold Smith,
Monks,
Magma,
Aswad,
The American Breed,
Liliput,
The Music Machine,
Rapeman,
Pere Ubu,
Nas,
Wally Richardson,
Bobby Byrd,
Sex Pistols,
E-Dancer,
the Soft Cell,
Delta 5,
Warren Ellis,
Camouflage,
Deakin,
Johnny Osbourne,
Franke,
Alison Limerick,
Pete Rock & C.L. Smooth,
Vaughan Mason & Crew,
Kurtis Blow,
Zero Boys,
Sonny Sharrock,
Neu!,
Nick Fraelich,
Alice Coltrane,
Fat Boys,
Malaria!,
Drexciya,
Scientists,
Thompson Twins,
Pharaoh Sanders and the Fire Engines,
John Cale,
Panda Bear,
Ash Ra Tempel,
Gang Starr,
Cheater Slicks,
Gregory Isaacs,
EPMD,
The Mighty Diamonds,
X-102, X-102, X-102, X-102.
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.