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 Comoros and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Houston 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 1979 at the first Josef K practice in a loft in Edinburgh.
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 Unrelated Segments to the grime kids.
I played it at Cafe Wha.
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 Oneida. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
Crispian St. Peters,
Harmonia,
The Raincoats,
Minnie Riperton,
Prince Buster,
The Buckinghams,
The Divine Comedy,
Connie Case,
Hardrive,
Rhythm & Sound,
Jeff Mills,
The Dirtbombs,
Jerry Gold Smith,
Bobby Womack,
Inner City,
Gichy Dan,
Quadrant,
Gang Green,
E-Dancer,
Stetsasonic,
A Flock of Seagulls,
Delta 5,
Masters at Work,
Organ,
Eurythmics,
Judy Mowatt,
Agitation Free,
Pagans,
Lee Hazlewood,
Ohio Players,
The Detroit Cobras,
Jandek,
The Sisters of Mercy,
Flipper,
DJ Sneak,
The New Christs,
cv313,
Ajijia Myrayebe,
These Immortal Souls,
Jesper Dahlback,
Schoolly D,
Fatback Band,
Circle Jerks,
Con Funk Shun,
The Music Machine,
Brand Nubian,
Jacques Brel,
Aswad,
Matthew Bourne,
Kevin Saunderson,
Banda Bassotti,
June of 44,
Stereo Dub,
Mars,
Oneida,
Blossom Toes,
K-Klass,
Warren Ellis,
Albert Ayler,
Unrelated Segments,
Kings Of Tomorrow,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.