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 Mauritius and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Edmonton 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 Josef K practice in a loft in Edinburgh.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Lizzy Mercier Descloux to the rap 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 The Divine Comedy. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every The Move 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Kool G Rap & DJ Polo,
Thee Headcoats,
The Grass Roots,
Lou Christie,
Desert Stars,
Pierre Henry,
Mars,
Con Funk Shun,
It's A Beautiful Day,
DJ Style,
Neil Young & Crazy Horse,
Banda Bassotti,
Gastr Del Sol,
Rites of Spring,
Popol Vuh,
Kool Moe Dee,
Art Ensemble Of Chicago,
Main Source,
Reagan Youth,
the Association,
Ituana,
Aswad,
Be Bop Deluxe,
Crispy Ambulance,
The Jesus and Mary Chain,
The Shadows of Knight,
Rahsaan Roland Kirk,
Sticky Fingaz feat. Raekwon,
The Evens,
Justin Hinds & The Dominoes,
Khruangbin,
John Coltrane,
Pussy Galore,
Henry Cow,
The Associates,
The Names,
The Selecter,
Guru Guru,
Electric Prunes,
10cc,
Jerry's Kids,
Don Cherry,
Suburban Knight,
Flamin' Groovies,
Warsaw,
Pantytec,
Soul II Soul,
Dual Sessions,
Mission of Burma,
EPMD,
Slick Rick,
Anthony Braxton,
Nick Fraelich,
Mandrill,
Marc Almond,
Unrelated Segments,
kango's stein massive,
The Walker Brothers,
The Index,
The Star Department, The Star Department, The Star Department, The Star Department.
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.