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 El Salvador and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Paris and Salvador.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Vladislav Delay to the disco 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 Kayak. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Ronan,
L. Decosne,
Lalo Schifrin,
The Motions,
Negative Approach,
Kayak,
Jeff Mills,
The Gun Club,
Terrestrial Tones,
Jerry's Kids,
Matthew Halsall,
Robert Wyatt,
Lou Reed & John Cale,
Roxette,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Visionaries,LMNO, T- Love & Iriscience,
Scott Walker,
Flamin' Groovies,
Crispian St. Peters,
Guru Guru,
Rakim,
Organ,
Gil Scott-Heron and Jamie xx,
MDC,
Audionom,
Lonnie Liston Smith,
The Martian,
Black Flag,
Aural Exciters,
Larry & the Blue Notes,
The Shadows of Knight,
Japan,
Lakeside,
Grey Daturas,
The Barracudas,
Beasts of Bourbon,
Harry Pussy,
Albert Ayler,
The Gories,
Max Romeo,
The Zeros,
The Misunderstood,
Bobby Byrd,
Roger Hodgson,
JFA,
The Sonics,
Trumans Water,
Kevin Saunderson,
The Star Department,
Icehouse,
Basic Channel,
Panda Bear,
Lebanon Hanover,
Drexciya,
Sun Ra,
Graham Central Station,
The Dead C,
The Fire Engines,
Dennis Brown,
The Divine Comedy,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.