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 Tonga and from Mumbai.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Cairo and Bologna.
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 spring reverb 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 Cluster to the disco 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 Jesper Dahlbäck. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal grime 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 Richard Hell and the Voidoids record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Masters at Work,
Malaria!,
Maleditus Sound,
The Slits,
World's Most,
Siglo XX,
The New Christs,
Mad Mike,
cv313,
Major Organ And The Adding Machine,
Fela Kuti,
London Community Gospel Choir,
Reagan Youth,
Beasts of Bourbon,
Oppenheimer Analysis,
Guru Guru,
The Trojans,
Alison Limerick,
Louis and Bebe Barron,
The Monochrome Set,
Scott Walker,
The Detroit Cobras,
Avey Tare's Slasher Flicks,
Minor Threat,
The Red Krayola,
Joensuu 1685,
Minnie Riperton,
Kenny Larkin,
The Invisible,
The Modern Lovers,
Ultimate Spinach,
Avey Tare,
Buzzcocks,
L. Decosne,
Visage,
Model 500,
Bootsy Collins,
Janne Schatter,
Yellowson,
Gil Scott-Heron & Brian Jackson,
E-Dancer,
Peter Gordon & Love of Life Orchestra,
The Young Rascals,
Jesper Dahlbäck,
Lalo Schifrin,
Lou Reed,
The Martian,
Ituana,
Procol Harum,
Animal Collective,
Vaughan Mason & Crew,
Soul II Soul,
Leonard Cohen,
the Swans,
Sun City Girls,
Hasil Adkins,
Drexciya,
The Shadows of Knight,
Oneida,
DeepChord presents Echospace,
Marmalade,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.