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 Saudi Arabia and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Calgary and Tehran.
I'm losing my edge to the art-school Manila 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 arpeggiator 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 Dawn Penn to the jazz kids.
I played it at the Crocodile.
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 Bobbi Humphrey. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Bobby Hutcherson 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Gian Franco Pienzio,
Symarip,
The Last Poets,
Joe Smooth,
The Monochrome Set,
Gregory Isaacs,
It's A Beautiful Day,
Funky Four + One,
Nick Fraelich,
Jesper Dahlbäck,
Skriet,
The Neon Judgement,
Pussy Galore,
Scientists,
Scan 7,
Ludus,
Kaleidoscope,
Morten Harket,
Nils Olav,
The Golliwogs,
X-101,
Young Marble Giants,
H. Thieme,
Strawberry Alarm Clock,
Smog,
The Durutti Column,
The Gap Band,
Index,
Fat Boys,
The Raincoats,
Barry Ungar,
Sixth Finger,
Juan Atkins,
Heavy D & The Boyz,
Funkadelic,
Josef K,
Icehouse,
The Beau Brummels,
Idris Muhammad,
Nik Kershaw,
Pulsallama,
Jerry's Kids,
Kerri Chandler,
Metal Thangz,
Clear Light,
Aloha Tigers,
New Order,
the Human League,
Neil Young,
Kango’s Stein Massive,
The Happenings,
Nation of Ulysses,
Toni Rubio,
The Grass Roots,
Barclay James Harvest,
The Fugs,
The Misunderstood,
Robert Görl,
Eric B and Rakim,
Graham Central Station,
Model 500, Model 500, Model 500, Model 500.
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.