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 Nigeria and from Portland.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1977.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 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 Skriet to the funk 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 Freddie Wadling. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Urselle,
Amon Düül II,
The Martian,
Letta Mbulu,
Parry Music,
Lou Reed & John Cale,
Girls At Our Best!,
Curtis Mayfield,
Yazoo,
Motorama,
Stiv Bators,
Heavy D & The Boyz,
Eli Mardock,
Fad Gadget,
Japan,
James Chance & The Contortions,
Carl Craig,
The Shadows of Knight,
The Dirtbombs,
Ken Boothe,
Judy Mowatt,
The Zeros,
Robert Görl,
DNA,
June Days,
John Coltrane,
Kas Product,
Bronski Beat,
Anthony Braxton,
The Mighty Diamonds,
Eric Copeland,
Rahsaan Roland Kirk,
Pulsallama,
Excepter,
Cabaret Voltaire,
Sonny Sharrock,
The Gories,
Thinking Fellers Union Local 282,
Davy DMX,
The Selecter,
Swell Maps,
Notorious BIG live in Amsterdam,
Skaos,
L. Decosne,
Big Daddy Kane,
Rhythm & Sound,
Robert Hood,
MC5,
Ultramagnetic MC's,
Hardrive,
David McCallum,
Radiopuhelimet,
Johnny Clarke,
Wighnomy Brothers & Robag Wruhme,
Man Parrish,
Peter and Kerry,
Charles Mingus,
Zapp,
Blake Baxter,
Mr. Review,
Jandek,
John Holt, John Holt, John Holt, John Holt.
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.