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 Lebanon and from Calgary.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Bremen and Philadelphia.
I'm losing my edge to the art-school London 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 linndrum 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 Harry Pussy to the crunk kids.
I played it at the Hacienda.
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 Jimmy McGriff. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Boredoms 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Sight & Sound,
Glenn Branca,
Don Cherry,
It's A Beautiful Day,
FM Einheit,
The Cramps,
Barrington Levy,
Underground Resistance,
Kauko Röyhkä ja Narttu,
Traffic Nightmare,
The Doors,
Unwound,
Rekid,
Neu!,
Groovy Waters,
Zero Boys,
Shuggie Otis,
These Immortal Souls,
The Shadows of Knight,
Rapeman,
Deepchord,
The Fire Engines,
Eden Ahbez,
Tomorrow,
Robert Hood,
Scott Walker + Sunn O))),
Public Image Ltd.,
Bobby Sherman,
The Birthday Party,
Roger Hodgson,
Camberwell Now,
Althea and Donna,
Parry Music,
Nik Kershaw,
Desert Stars,
Chris & Cosey,
Ralphi Rosario,
Throbbing Gristle,
A Flock of Seagulls,
Maleditus Sound,
Andrew Ashong & Theo Parrish,
The Royal Family And The Poor,
Minny Pops,
Graham Central Station,
Nils Olav,
Lee Hazlewood,
The Barracudas,
Selector Dub Narcotic,
Y Pants,
Boogie Down Productions,
Banda Bassotti,
Gregory Isaacs,
Public Enemy,
Dawn Penn,
Röyhkä ja Rättö ja Lehtisalo,
Fela Kuti,
Smog,
Oppenheimer Analysis,
D'Angelo,
The Five Americans,
Mo-Dettes,
The Wake, The Wake, The Wake, The Wake.
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.