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 Dominican Republic and from Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Columbus and Winnipeg.
I'm losing my edge to the art-school Bologna 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 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 Davy DMX to the dance kids.
I played it at the 40 Watt.
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 X-Ray Spex. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Toni Rubio record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Kool Moe Dee,
Crime,
Kango’s Stein Massive,
Quadrant,
Barclay James Harvest,
Erykah Badu,
Visage,
Flash Fearless,
Jacques Brel,
Monolake,
The Residents,
Sun Ra Arkestra,
Shoche,
Justin Hinds & The Dominoes,
The Red Krayola,
Japan,
Deakin,
Sunsets and Hearts,
Radio Birdman,
Gastr Del Sol,
The Chocolate Watch Band,
Maurizio,
Main Source,
Throbbing Gristle,
Sugar Minott,
the Fania All-Stars,
U.S. Maple,
The Last Poets,
Archie Shepp,
Lou Christie,
Silicon Teens,
Marshall Jefferson,
Lyres,
Magma,
Pet Shop Boys,
Roy Ayers Ubiquity,
Andrew Hill,
The Selecter,
New York Dolls,
Country Joe & The Fish,
The Grass Roots,
Traffic Nightmare,
Gil Scott-Heron & Brian Jackson,
The Doors,
The West Coast Pop Art Experimental Band,
Harry Pussy,
ABBA,
Clear Light,
The Martian,
Blossom Toes,
Crooked Eye,
Amazonics,
Moss Icon,
Tubeway Army,
Scott Walker + Sunn O))),
Icehouse,
Vainqueur,
Terrestrial Tones,
Wolf Eyes,
The Alarm Clocks,
Porter Ricks,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.