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 Bosnia Herzegovina and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Tehran 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 organ 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 Porter Ricks to the rap 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 Avey Tare's Slasher Flicks. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Popol Vuh 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Television Personalities,
The Gap Band,
Graham Central Station,
The Barracudas,
The Real Kids,
Piero Umiliani,
Livin' Joy,
Porter Ricks,
Flamin' Groovies,
Blancmange,
Q65,
Leonard Cohen,
Desert Stars,
The Golliwogs,
Gang of Four,
Avey Tare's Slasher Flicks,
The Fugs,
Connie Case,
Buzzcocks,
The Alarm Clocks,
kango's stein massive,
Arthur Verocai,
New York Dolls,
Deakin,
Siouxsie and the Banshees,
Joey Negro,
Warren Ellis,
Country Teasers,
The Wake,
The Martian,
Sällskapet,
The Victims,
Soft Machine,
Massinfluence,
Minor Threat,
Fifty Foot Hose,
Lindisfarne,
Delon & Dalcan,
T.S.O.L.,
Pharoah Sanders,
Dark Day,
Pantytec,
Fort Wilson Riot,
CMW,
Dorothy Ashby,
Pierre Henry,
Loose Ends,
Nas,
Bizarre Inc.,
The Raincoats,
Marcia Griffiths,
DeepChord presents Echospace,
Andrew Ashong & Theo Parrish,
Clear Light,
Camron Feat. Memphis Bleek And Beenie Seigel,
Organ,
Hardrive,
Jacob Miller,
Jerry's Kids,
Deutsch Amerikanische Freundschaft,
a-ha, a-ha, a-ha, a-ha.
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.