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 Philippines and from Woodstock.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Lagos 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 snare 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 Aloha Tigers to the punk 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 The New Christs. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Jeff Mills,
Shoche,
B.T. Express,
Los Fastidios,
The Fuzztones,
Wire,
Cal Tjader,
Young Marble Giants,
Eric Dolphy,
Black Pus,
Bill Near,
Black Moon,
K-Klass,
Johnny Osbourne,
Kauko Röyhkä ja Narttu,
the Swans,
Au Pairs,
Johnny Clarke,
Deepchord,
Marvin Gaye,
The Cowsills,
Kerrie Biddell,
Das Ding,
Matthew Halsall,
Boredoms,
CMW,
The Gap Band,
Roy Ayers Ubiquity,
The Index,
Wolf Eyes,
The Vogues,
T.S.O.L.,
Mantronix,
Gastr Del Sol,
The J.B.'s,
Hasil Adkins,
De La Soul & Jungle Brothers,
Con Funk Shun,
Kurtis Blow,
Avey Tare's Slasher Flicks,
Eric B and Rakim,
the Human League,
The Mojo Men,
Derrick Morgan,
Frankie Knuckles,
Laurel Aitken,
Warren Ellis,
The Slits,
Nation of Ulysses,
John Lydon,
World's Most,
Don Cherry,
Youth Brigade,
Bronski Beat,
The Royal Family And The Poor,
Dual Sessions,
The Seeds,
Delon & Dalcan,
FM Einheit,
Rakim,
Ken Boothe,
Red Lorry Yellow Lorry,
This Heat,
Audionom, Audionom, Audionom, Audionom.
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.