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 Papua New Guinea and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Johannesburg 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 guitar sounds with much patience.
I was there when Lou Reed 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 Janne Schatter to the rock 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 Cameo. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Swell Maps 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Derrick May,
Jimmy McGriff,
Alice Coltrane,
Avey Tare's Slasher Flicks,
Amazonics,
Sunsets and Hearts,
The Count Five,
The Searchers,
Charles Mingus,
Dorothy Ashby,
Urselle,
Spandau Ballet,
Fluxion,
Black Bananas,
Crispy Ambulance,
Wighnomy Brothers & Robag Wruhme,
Rapeman,
Laurel Aitken,
The Black Dice,
a-ha,
John Cale,
Pantytec,
Theoretical Girls,
The Fortunes,
The Last Poets,
Au Pairs,
Monks,
John Holt,
Bill Wells,
Strawberry Alarm Clock,
Siouxsie and the Banshees,
Junior Murvin,
Yaz,
Be Bop Deluxe,
Grandmaster Flash and the Furious Five,
Electric Prunes,
The Fall,
Richard Hell and the Voidoids,
Jesper Dahlbäck,
The Dead C,
Popol Vuh,
Hardrive,
Duran Duran,
Procol Harum,
The Gap Band,
Black Flag,
Camron Feat. Jay Z And Juelz,
The United States of America,
Tropical Tobacco,
Gabor Szabo,
Pulsallama,
Chrome,
Peter and Kerry,
Section 25,
Moss Icon,
Soft Machine,
Darondo,
The Moleskins,
Rhythm & Sound,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.