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 Namibia and from Lyon.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Spokane 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 rhodes 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 Sunsets and Hearts to the electroclash 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 Metal Thangz. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Public Enemy,
Chris & Cosey,
kango's stein massive,
The Mojo Men,
The Gun Club,
Warren Ellis,
Robert Görl,
Lee Hazlewood,
Pharaoh Sanders and the Fire Engines,
Tom Boy,
Lou Christie,
Nik Kershaw,
Johnny Clarke,
The Slackers,
Pantaleimon,
The Busters,
Bootsy Collins,
Pagans,
Boredoms,
Jawbox,
CMW,
Judy Mowatt,
The Pretty Things,
Heavy D & The Boyz,
The Gladiators,
In Retrospect,
Freddie Wadling,
Lalann,
Pet Shop Boys,
Tommy Roe,
Moby Grape,
The Move,
David Axelrod,
Albert Ayler,
Yellowson,
Soft Cell,
Khruangbin,
Neil Young & Crazy Horse,
David Bowie,
Ultramagnetic MC's,
Steve Hackett,
Kevin Saunderson,
Thee Headcoats,
Rekid,
The West Coast Pop Art Experimental Band,
Bobby Hutcherson,
These Immortal Souls,
Orchestral Manoeuvres in the Dark,
Scratch Acid,
Mr. Review,
Cameo,
The Vogues,
Stereo Dub,
Subhumans,
Bobby Womack,
Captain Beefheart & His Magic Band,
Little Man,
Matthew Bourne,
The Leaves,
Faraquet, Faraquet, Faraquet, Faraquet.
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.