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 Serbia and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Milan and Delhi.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Maurizio to the techno 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 Smiths. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
the Bar-Kays,
Todd Rundgren,
Henry Cow,
X-Ray Spex,
Scrapy,
Swell Maps,
Carl Craig,
Marshall Jefferson,
Audionom,
Porter Ricks,
Make Up,
Slave,
Zapp,
Röyhkä ja Rättö ja Lehtisalo,
Fela Kuti,
Ohio Players,
Pulsallama,
Tom Boy,
DJ Sneak,
Desert Stars,
Tomorrow,
Excepter,
Todd Terry,
Teenage Jesus and the Jerks,
the Soft Cell,
Ash Ra Tempel,
Duran Duran,
The Move,
Jawbox,
This Heat,
Hardrive,
Ultra Naté,
Joensuu 1685,
Public Enemy,
Scientists,
Magma,
Motorama,
The Red Krayola,
E-Dancer,
Gang of Four,
Crash Course in Science,
The Angels of Light,
Echo & the Bunnymen,
Q65,
Marc Almond,
Blake Baxter,
48th St. Collective,
Kenny Larkin,
the Slits,
a-ha,
Roxette,
Ralphi Rosario,
OOIOO,
Shoche,
Ken Boothe,
Juan Atkins,
Lungfish,
Vainqueur,
Big Daddy Kane,
Minutemen,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.