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 Niger and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Lille 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Rakim to the techno kids.
I played it at the Astoria.
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 Spoonie Gee. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every David McCallum 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a DJ Sneak record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
DJ Style,
Red Lorry Yellow Lorry,
the Germs,
Tim Buckley,
The Leaves,
The Mummies,
Amon Düül,
Rhythim Is Rhythim,
Q and Not U,
The Skatalites,
Todd Terry,
Supertramp,
Essential Logic,
Sly & The Family Stone,
Fear,
The Slits,
Archie Shepp,
Röyhkä ja Rättö ja Lehtisalo,
Colin Newman,
Pulsallama,
Schoolly D,
Kaleidoscope,
Whodini,
Adolescents,
Terry Callier,
Maurizio,
DeepChord presents Echospace,
Suburban Knight,
Nation of Ulysses,
The United States of America,
Reagan Youth,
Bang On A Can,
Orchestral Manoeuvres in the Dark,
Sarah Menescal,
Flipper,
the Bar-Kays,
Peter and Kerry,
Minutemen,
The Cure,
Joe Finger,
New Age Steppers,
Spoonie Gee,
Byron Stingily,
Oblivians,
The Toasters,
Angry Samoans,
Pharoah Sanders,
The Selecter,
Heaven 17,
Echo & the Bunnymen,
La Düsseldorf,
Fort Wilson Riot,
Bootsy Collins,
Roy Ayers Ubiquity,
Jandek,
Drive Like Jehu,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Basic Channel,
Mandrill,
Sight & Sound,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.