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 Azerbaijan and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school Woodstock 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Ludus 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 Loose Ends. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal electroclash 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 a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Jesper Dahlbäck,
Wighnomy Brothers & Robag Wruhme,
Boz Scaggs,
Urselle,
The Golliwogs,
Yaz,
UT,
The American Breed,
Gil Scott-Heron and Jamie xx,
D'Angelo,
The Gladiators,
Joey Negro,
Nik Kershaw,
Sight & Sound,
China Crisis,
Sonny Sharrock,
Cymande,
Sound Behaviour,
Terry Callier,
The Names,
Idris Muhammad,
Roger Hodgson,
John Coltrane,
Lalo Schifrin,
Depeche Mode,
Average White Band,
Oneida,
Laurel Aitken,
Freddie Wadling,
Kauko Röyhkä ja Narttu,
Tomorrow,
Crash Course in Science,
Interpol,
Pharaoh Sanders and the Fire Engines,
Pole,
Camberwell Now,
Heaven 17,
Deutsch Amerikanische Freundschaft,
Deadbeat,
Cybotron,
June of 44,
Cecil Taylor,
Swans,
Half Japanese,
The Cowsills,
Black Flag,
The Toasters,
David Bowie,
The Fall,
Metal Thangz,
The Searchers,
Peter Gordon & Love of Life Orchestra,
Suicide,
Severed Heads,
New Age Steppers,
Fad Gadget,
Alice Coltrane,
The Doobie Brothers,
Kevin Saunderson,
Dave Gahan,
Carl Craig,
Skriet, Skriet, Skriet, Skriet.
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.