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 Serbia and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school Beijing 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe 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 Bobby Hutcherson to the jazz kids.
I played it at the Spitz.
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 Alison Limerick. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Blake Baxter,
the Swans,
Khruangbin,
The Electric Prunes,
Grandmaster Flash,
Gil Scott-Heron & Brian Jackson,
Little Man,
Derrick May,
Supertramp,
The Tremeloes,
Larry & the Blue Notes,
Masters at Work,
Pete Rock & C.L. Smooth,
John Foxx,
Strawberry Alarm Clock,
Buzzcocks,
Peter & Gordon,
Drive Like Jehu,
Wings,
The Blackbyrds,
Cybotron,
Avey Tare & Kría Brekkan,
Royal Trux,
Man Parrish,
Clear Light,
Sam Rivers,
Kool G Rap & DJ Polo,
X-Ray Spex,
Deakin,
Traffic Nightmare,
Scratch Acid,
Young Marble Giants,
Cameo,
Nils Olav,
Motorama,
Roy Ayers Ubiquity,
The Move,
DJ Sneak,
Cheater Slicks,
Funky Four + One,
Ultramagnetic MC's,
Eden Ahbez,
Kool Moe Dee,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fugs,
Jeff Lynne,
Ken Boothe,
Max Romeo,
The Fire Engines,
Notorious BIG live in Amsterdam,
Suicide,
Brass Construction,
Lafayette Afro Rock Band,
Dark Day,
Beasts of Bourbon,
Sonny Sharrock,
Sugar Minott,
Depeche Mode,
The Walker Brothers,
These Immortal Souls,
Glambeats Corp.,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.