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 Congo and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Slackers to the crunk 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 Masters at Work. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
Rahsaan Roland Kirk,
Whodini,
Ponytail,
Section 25,
Ohio Players,
Faust,
Sandy B,
Barclay James Harvest,
Dark Day,
the Germs,
The Young Rascals,
Delon & Dalcan,
Das Ding,
Ronnie Foster,
Brand Nubian,
Patti Smith,
Ronan,
June of 44,
Lower 48,
Scratch Acid,
The Knickerbockers,
China Crisis,
Pharaoh Sanders and the Fire Engines,
James White and The Blacks,
Sex Pistols,
Avey Tare,
Lucky Dragons,
Minor Threat,
Jimmy McGriff,
Agitation Free,
Cluster,
Arthur Verocai,
Robert Wyatt,
New Age Steppers,
Stockholm Monsters,
PIL,
La Düsseldorf,
Archie Shepp,
Leonard Cohen,
Radiohead,
Röyhkä ja Rättö ja Lehtisalo,
Kerrie Biddell,
Yellowson,
Richard Hell and the Voidoids,
Television,
Circle Jerks,
Sugar Minott,
Tres Demented,
Oblivians,
Jacques Brel,
Easy Going,
Average White Band,
Swell Maps,
Ornette Coleman,
the Normal,
Aswad,
Bobby Hutcherson,
Beasts of Bourbon,
Janne Schatter,
Sight & Sound,
Johnny Osbourne,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.