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 Costa Rica and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1966 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Motorama to the crunk kids.
I played it at the Hacienda.
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 Bob Dylan. All the underground hits.
All UT tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Harpers Bizarre,
Rahsaan Roland Kirk,
Franke,
Ossler,
Strawberry Alarm Clock,
Fifty Foot Hose,
Swell Maps,
Wally Richardson,
This Heat,
Lizzy Mercier Descloux,
Cal Tjader,
Radio Birdman,
The Smoke,
Dual Sessions,
The Raincoats,
Gong,
The Doobie Brothers,
One Last Wish,
Fat Boys,
Alice Coltrane,
Donny Hathaway,
X-Ray Spex,
Al Stewart,
Metal Thangz,
KRS-One,
Camberwell Now,
Stockholm Monsters,
Basic Channel,
Roy Ayers,
Motorama,
Yazoo,
The Walker Brothers,
Delta 5,
These Immortal Souls,
Man Parrish,
The Dirtbombs,
Malaria!,
DNA,
Grauzone,
Howard Jones,
David McCallum,
New Order,
Juan Atkins,
Grandmaster Flash,
Charles Mingus,
The Peanut Butter Conspiracy,
the Association,
Anakelly,
John Cale,
Dennis Brown,
Carl Craig,
Au Pairs,
Bizarre Inc.,
Kevin Saunderson,
Bootsy's Rubber Band,
Brick,
Aaron Thompson,
Fatback Band,
Scrapy,
The Durutti Column,
DJ Style, DJ Style, DJ Style, DJ Style.
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.