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 India and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1975.
I'm losing my edge.
To all the kids in Lyon and Halifax.
I'm losing my edge to the art-school Mumbai 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 ABC to the punk kids.
I played it at the Spitz.
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 Sound. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Art Ensemble Of Chicago,
LL Cool J,
Amon Düül II,
Super Lover Cee & Casanova Rud,
R.M.O.,
Livin' Joy,
Cheater Slicks,
The Dave Clark Five,
Scan 7,
Monks,
Gichy Dan,
Spoonie Gee,
Roger Hodgson,
The Barracudas,
Rod Modell,
Bill Near,
Masters at Work,
Johnny Osbourne,
The Gories,
Man Parrish,
World's Most,
Wolf Eyes,
Amon Düül,
The Names,
Kevin Saunderson,
Robert Hood,
Neu!,
Pete Rock & C.L. Smooth,
Model 500,
Harpers Bizarre,
Sixth Finger,
Idris Muhammad,
Aloha Tigers,
Liaisons Dangereuses,
Nik Kershaw,
The Pretty Things,
Eden Ahbez,
Zero Boys,
Fifty Foot Hose,
The Fuzztones,
Louis and Bebe Barron,
Technova,
Be Bop Deluxe,
Siglo XX,
Glenn Branca,
Guru Guru,
The Dirtbombs,
T.S.O.L.,
Agitation Free,
Gabor Szabo,
Dark Day,
Tears for Fears,
EPMD,
The Jesus and Mary Chain,
the Association,
Juan Atkins,
Ultramagnetic MC's,
Dawn Penn,
Pere Ubu,
Fat Boys,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.