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 Cameroon and from Bologna.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum 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 The Young Rascals to the techno 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 Cecil Taylor. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Spoonie Gee 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Barclay James Harvest,
Strawberry Alarm Clock,
The Neon Judgement,
Yaz,
The Mojo Men,
48th St. Collective,
Roxette,
Avey Tare,
The Chocolate Watch Band,
Eve St. Jones,
Magazine,
The Pop Group,
The Angels of Light,
John Cale,
Heavy D & The Boyz,
Black Flag,
Scion,
Ituana,
Hot Snakes,
Terrestrial Tones,
T. Rex,
Ultra Naté,
The Monks,
Lee Hazlewood,
Severed Heads,
MC5,
The Tremeloes,
Amazonics,
kango's stein massive,
Ronan,
Banda Bassotti,
The Human League,
Camberwell Now,
Scientists,
Livin' Joy,
Scratch Acid,
Procol Harum,
Morten Harket,
Soft Machine,
Sun Ra Arkestra,
The Litter,
Supertramp,
Iggy Pop,
The Peanut Butter Conspiracy,
Delon & Dalcan,
Stetsasonic,
ABBA,
Man Parrish,
Make Up,
DeepChord presents Echospace,
Public Enemy,
D'Angelo,
Man Eating Sloth,
Vladislav Delay,
Gang Starr,
Arcadia,
John Holt,
Flipper,
The Gap Band,
Bobby Womack,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.