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 India and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Portland and Shanghai.
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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Adolescents to the dance kids.
I played it at the Troubador.
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 Janne Schatter. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Peter and Kerry,
K-Klass,
Intrusion,
A Certain Ratio,
The Music Machine,
Franke,
Charles Mingus,
Drive Like Jehu,
Visionaries,LMNO, T- Love & Iriscience,
Hashim,
The Five Americans,
The Monks,
Bobby Hutcherson,
Subhumans,
Bauhaus,
John Lydon,
Agent Orange,
Gang Starr,
Strawberry Alarm Clock,
David Axelrod,
The Smiths,
Public Image Ltd.,
Robert Wyatt,
Accadde A,
The Star Department,
These Immortal Souls,
Hasil Adkins,
Bad Manners,
Marmalade,
JFA,
The Toasters,
John Holt,
The Blues Magoos,
Joensuu 1685,
Ossler,
The Slackers,
Tres Demented,
Rotary Connection,
ABBA,
Nils Olav,
Reuben Wilson,
FM Einheit,
Country Teasers,
Archie Shepp,
Pete Rock & C.L. Smooth,
Louis and Bebe Barron,
X-102,
The Sisters of Mercy,
Davy DMX,
Animal Collective,
Ponytail,
Quadrant,
Television Personalities,
The Busters,
Panda Bear,
Main Source,
Jerry's Kids,
Dark Day,
Make Up,
Cybotron,
Brand Nubian,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.