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 Botswana and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Quando Quango to the jazz kids.
I played it at the Crocodile.
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 Radiohead. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
the Association,
The Dirtbombs,
The Neon Judgement,
The Young Rascals,
D'Angelo,
Lizzy Mercier Descloux,
Pulsallama,
Rosa Yemen,
Circle Jerks,
the Bar-Kays,
Chris & Cosey,
The Doobie Brothers,
Ten City,
Swans,
Andrew Hill,
The Trojans,
Pete Rock & C.L. Smooth,
Jerry Gold Smith,
The Doors,
The Moody Blues,
Lee Hazlewood,
The J.B.'s,
The Litter,
John Cale,
Easy Going,
Yellowson,
Lungfish,
EPMD,
The Angels of Light,
X-101,
Spandau Ballet,
Deakin,
Johnny Osbourne,
Smog,
The Toasters,
Excepter,
John Holt,
Althea and Donna,
Duran Duran,
Grandmaster Flash,
Guru Guru,
Crime,
The Grass Roots,
Donald Byrd,
Japan,
Severed Heads,
DJ Sneak,
Juan Atkins,
Quadrant,
The Standells,
Be Bop Deluxe,
Alphaville,
Bootsy's Rubber Band,
Accadde A,
Rowland S Howard / Lydia Lunch,
John Coltrane,
Crash Course in Science,
Reuben Wilson,
Lou Christie,
Kaleidoscope,
Delta 5,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.