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 Nigeria and from Mexico City.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Delhi and Salvador.
I'm losing my edge to the art-school Paris 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 Lewis practice in a loft in Vancouver.
I was working on the theremin 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 Malaria! to the disco kids.
I played it at the 40 Watt.
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 Junior Murvin. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire 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?
Rotary Connection,
Tomorrow,
Leonard Cohen,
Pulsallama,
U.S. Maple,
Lou Reed & John Cale,
Kas Product,
Skriet,
The Fugs,
Sad Lovers and Giants,
Mad Mike,
Warsaw,
Talk Talk,
Robert Görl,
Dennis Brown,
La Düsseldorf,
Radio Birdman,
Loose Ends,
Crime,
Radiopuhelimet,
Bizarre Inc.,
Roxette,
The Fall,
Be Bop Deluxe,
Gil Scott-Heron and Jamie xx,
Cabaret Voltaire,
Mandrill,
CMW,
Mary Jane Girls,
Thee Headcoats,
Quantec,
Aloha Tigers,
Kango’s Stein Massive,
Flamin' Groovies,
Don Cherry,
Chris & Cosey,
Letta Mbulu,
Desert Stars,
Khruangbin,
Josef K,
Japan,
The Walker Brothers,
The Names,
Cybotron,
Boogie Down Productions,
Barrington Levy,
Lightning Bolt,
Young Marble Giants,
Gian Franco Pienzio,
Crash Course in Science,
Y Pants,
Moby Grape,
Orchestral Manoeuvres in the Dark,
Strawberry Alarm Clock,
Popol Vuh,
Heaven 17,
The Fire Engines,
Agent Orange,
Donald Byrd,
X-102,
The Happenings, The Happenings, The Happenings, The Happenings.
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.