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 Poland and from Houston.
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 1968 to 1970.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator 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 X-102 to the crunk kids.
I played it at the Troubador.
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 Bush Tetras. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Bootsy Collins 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Eyeless In Gaza,
Minny Pops,
Nation of Ulysses,
Black Flag,
Cecil Taylor,
Audionom,
Malaria!,
Bob Dylan,
Fad Gadget,
Royal Trux,
Notorious Big And Bone Thugs,
Morten Harket,
Barclay James Harvest,
Symarip,
Toni Rubio,
June of 44,
Barbara Tucker,
The Five Americans,
The Music Machine,
John Holt,
Brass Construction,
David Axelrod,
Monks,
Joey Negro,
Crime,
Glenn Branca,
U.S. Maple,
Scratch Acid,
Lou Reed & John Cale,
Parry Music,
Rapeman,
Louis and Bebe Barron,
Connie Case,
The Modern Lovers,
Leonard Cohen,
Black Sheep,
Andrew Ashong & Theo Parrish,
K-Klass,
Donald Byrd,
Joensuu 1685,
Guru Guru,
Kas Product,
Junior Murvin,
Panda Bear,
Roger Hodgson,
F. McDonald,
Tears for Fears,
Roy Ayers,
Nick Cave & The Bad Seeds,
Kenny Larkin,
Dawn Penn,
Sister Nancy,
Steve Hackett,
The J.B.'s,
Swans,
Selector Dub Narcotic,
Bobby Sherman,
Amon Düül II,
Hashim,
DNA,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.