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 Solomon Islands and from Beijing.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Mexico City 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 marimba 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 Harry Pussy to the dance kids.
I played it at the Astoria.
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 LL Cool J. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
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 The Gladiators record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Siouxsie and the Banshees,
Bob Dylan,
Lower 48,
The Associates,
The Gladiators,
MDC,
The J.B.'s,
DJ Sneak,
Ken Boothe,
The Fortunes,
Harry Pussy,
Prince Buster,
Pole,
New York Dolls,
Minnie Riperton,
Japan,
Half Japanese,
Das Ding,
Soft Machine,
K-Klass,
Sun City Girls,
Notorious BIG live in Amsterdam,
Nirvana,
Wire,
Eyeless In Gaza,
Electric Light Orchestra,
Swell Maps,
Heavy D & The Boyz,
Matthew Bourne,
Can,
The Count Five,
EPMD,
The Fire Engines,
Gastr Del Sol,
The Moody Blues,
The Martian,
Lalo Schifrin,
Moss Icon,
the Association,
Severed Heads,
The Neon Judgement,
Nils Olav,
Slick Rick,
Underground Resistance,
Traffic Nightmare,
Unwound,
The Cramps,
Amazonics,
R.M.O.,
Maleditus Sound,
Zero Boys,
Crash Course in Science,
Judy Mowatt,
Radiohead,
X-102,
Rites of Spring,
Derrick May,
Derrick Morgan,
Major Organ And The Adding Machine,
Yusef Lateef,
The Selecter,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.