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 Costa Rica and from Accra.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1971 at the first Selda practice in a loft in Istanbul.
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 Röyhkä ja Rättö ja Lehtisalo to the grime 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 De La Soul & Jungle Brothers. All the underground hits.
All Index tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Mandrill,
Deadbeat,
Dark Day,
Derrick May,
Siouxsie and the Banshees,
Theoretical Girls,
Ten City,
World's Most,
Lightning Bolt,
10cc,
Crime,
Cecil Taylor,
Matthew Halsall,
Arthur Verocai,
Bill Near,
Howard Jones,
Echo & the Bunnymen,
ABC,
Stockholm Monsters,
Jerry's Kids,
James White and The Blacks,
The Dead C,
Thinking Fellers Union Local 282,
The Martian,
Jeff Lynne,
The J.B.'s,
Urselle,
Parry Music,
Heaven 17,
Funkadelic,
Chris & Cosey,
Boogie Down Productions,
Radio Birdman,
Qualms,
Rosa Yemen,
Crispy Ambulance,
The Fugs,
Crispian St. Peters,
The Golliwogs,
Lakeside,
Ronan,
Don Cherry,
The Skatalites,
New York Dolls,
Porter Ricks,
Slick Rick,
Mr. Review,
Smog,
Organ,
Q65,
Ultramagnetic MC's,
Skaos,
Panda Bear,
Alphaville,
Black Bananas,
DJ Style,
Lou Reed & John Cale,
Gil Scott-Heron and Jamie xx,
The Dave Clark Five,
Goldenarms,
The Mojo Men,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.