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 Sweden and from Accra.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Lonnie Liston Smith to the electroclash 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 Crispian St. Peters. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Maurizio 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Matthew Bourne,
Lightning Bolt,
the Normal,
Sandy B,
The Moody Blues,
Jesper Dahlbäck,
Infiniti,
Camouflage,
Howard Jones,
The United States of America,
the Sonics,
Eddi Front,
Fluxion,
Organ,
Grandmaster Flash and the Furious Five,
The Fire Engines,
David Axelrod,
The Techniques,
Silicon Teens,
The Cosmic Jokers,
Masters at Work,
The Pop Group,
Avey Tare & Kría Brekkan,
the Association,
Avey Tare,
Deadbeat,
Scott Walker,
Interpol,
Dawn Penn,
Gang Gang Dance,
F. McDonald,
Scratch Acid,
The Dead C,
The Motions,
Banda Bassotti,
Toni Rubio,
Youth Brigade,
Cabaret Voltaire,
Eric Copeland,
Wighnomy Brothers & Robag Wruhme,
Bill Wells,
Mary Jane Girls,
Cluster,
Bluetip,
DJ Sneak,
Jandek,
Loose Ends,
Rhythm & Sound,
Teenage Jesus and the Jerks,
ABBA,
Harpers Bizarre,
Little Man,
Barclay James Harvest,
Chris & Cosey,
Wally Richardson,
Fela Kuti,
Livin' Joy,
Red Lorry Yellow Lorry,
Tomorrow,
the Swans, the Swans, the Swans, the Swans.
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.