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 Benin and from Glasgow.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Taipei 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Johnny Clarke to the grunge 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 Arab on Radar. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Gang Starr,
Blancmange,
Ultra Naté,
Lee Hazlewood,
Dave Gahan,
Idris Muhammad,
H. Thieme,
Chris & Cosey,
a-ha,
Kevin Saunderson,
Vladislav Delay,
The Jesus and Mary Chain,
The Neon Judgement,
Maleditus Sound,
The Raincoats,
Scratch Acid,
Vainqueur,
Marcia Griffiths,
Echo & the Bunnymen,
Be Bop Deluxe,
Underground Resistance,
Can,
the Swans,
Absolute Body Control,
Soulsonic Force,
Heaven 17,
kango's stein massive,
8 Eyed Spy,
Eric B and Rakim,
Lebanon Hanover,
10cc,
Delon & Dalcan,
Swell Maps,
Morten Harket,
Fluxion,
The Shadows of Knight,
The Moody Blues,
Bauhaus,
Bob Dylan,
Matthew Bourne,
Hashim,
Model 500,
L. Decosne,
June Days,
World's Most,
Lalo Schifrin,
Bad Manners,
Marc Romboy vs. Booka Shade,
Aswad,
Saccharine Trust,
Nick Fraelich,
Ken Boothe,
Terrestrial Tones,
These Immortal Souls,
Darondo,
Jawbox,
Severed Heads,
London Community Gospel Choir,
X-Ray Spex,
Delta 5,
The Seeds,
Ash Ra Tempel,
Yellowson,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.