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 Bhutan and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Spokane and Cairo.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ 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 John Lydon to the funk 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 Juan Atkins. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Skriet,
These Immortal Souls,
Buzzcocks,
Liaisons Dangereuses,
Grauzone,
Pylon,
The Black Dice,
Whodini,
Roxy Music,
Deepchord,
Cybotron,
the Bar-Kays,
Minny Pops,
Junior Murvin,
Symarip,
Yazoo,
Warren Ellis,
Rotary Connection,
Pere Ubu,
B.T. Express,
Brass Construction,
Pantytec,
Marshall Jefferson,
James Chance & The Contortions,
Peter and Kerry,
Mad Mike,
Blake Baxter,
Matthew Halsall,
Connie Case,
Liliput,
Young Marble Giants,
Magma,
Masters at Work,
The Angels of Light,
X-102,
The Human League,
The Grass Roots,
Neu!,
Bobby Sherman,
Oppenheimer Analysis,
Agent Orange,
Index,
Eric B and Rakim,
Todd Terry,
the Normal,
Aloha Tigers,
Basic Channel,
Q and Not U,
Pharoah Sanders,
Roy Ayers Ubiquity,
The Birthday Party,
Hot Snakes,
T.S.O.L.,
The Fuzztones,
Roy Ayers,
The Fall,
Kevin Saunderson,
Bang on a Can All-Stars,
La Düsseldorf,
Selector Dub Narcotic,
Sight & Sound,
Tim Buckley,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.