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 Uzbekistan and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Portland and Columbus.
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 marimba 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 The West Coast Pop Art Experimental Band to the grime kids.
I played it at the Troubador.
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 Sonics. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Sunsets and Hearts,
Lungfish,
Rowland S Howard / Lydia Lunch,
Basic Channel,
Aloha Tigers,
L. Decosne,
Mandrill,
Angry Samoans,
Sonic Youth,
Shoche,
Zapp,
Donald Byrd,
Fad Gadget,
Bang on a Can All-Stars,
Darondo,
The Moleskins,
Barclay James Harvest,
Mr. Review,
Avey Tare,
the Germs,
B.T. Express,
the Normal,
Eden Ahbez,
Talk Talk,
Reagan Youth,
Wally Richardson,
Mark Hollis,
Manfred Mann's Earth Band,
Panda Bear,
Steve Hackett,
Funky Four + One,
Lou Reed & John Cale,
Frankie Knuckles,
The Trojans,
Amon Düül II,
Marmalade,
Tropical Tobacco,
The Vogues,
Bobby Hutcherson,
La Düsseldorf,
Schoolly D,
Fat Boys,
Masters at Work,
Bobby Byrd,
U.S. Maple,
Minnie Riperton,
Pulsallama,
The Cure,
The Modern Lovers,
Loose Ends,
ABBA,
Oppenheimer Analysis,
Parry Music,
Sällskapet,
Echo & the Bunnymen,
The Litter,
Tim Buckley,
Thee Headcoats,
Eli Mardock,
R.M.O.,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.