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 Guyana and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Woodstock and Stockholm.
I'm losing my edge to the art-school Jakarta 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 linndrum 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 Pylon to the techno kids.
I played it at the Hacienda.
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 Alphaville. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Masters at Work 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Eyeless In Gaza,
Fear,
Warsaw,
Dennis Brown,
EPMD,
Animal Collective,
The Moleskins,
The Techniques,
Kool Moe Dee,
Roger Hodgson,
Jacob Miller,
Monolake,
The Selecter,
CMW,
Severed Heads,
X-101,
Scrapy,
Ultravox,
The Busters,
Dorothy Ashby,
Ponytail,
Lizzy Mercier Descloux,
The Shadows of Knight,
Ash Ra Tempel,
The Seeds,
The Cramps,
A Certain Ratio,
Cluster,
Loose Ends,
Scan 7,
Drexciya,
F. McDonald,
T. Rex,
John Foxx,
Porter Ricks,
Alice Coltrane,
Nirvana,
Livin' Joy,
Country Joe & The Fish,
Cymande,
Echo & the Bunnymen,
Bill Near,
Bobby Byrd,
Yaz,
The Beau Brummels,
The Dead C,
Letta Mbulu,
The Dirtbombs,
Mark Hollis,
Dave Gahan,
Infiniti,
Soul Sonic Force,
Wighnomy Brothers & Robag Wruhme,
Black Moon,
Orchestral Manoeuvres in the Dark,
DJ Sneak,
Quando Quango,
the Human League,
The Kinks,
The Associates,
Simply Red,
Oneida, Oneida, Oneida, Oneida.
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.