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 Azerbaijan and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Halifax and Toronto.
I'm losing my edge to the art-school Sao Paulo 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 David Bowie 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 Josef K to the dance 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 Robert Görl. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Nation of Ulysses 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 '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Ossler,
Letta Mbulu,
A Certain Ratio,
Selector Dub Narcotic,
The Selecter,
Wings,
Harry Pussy,
China Crisis,
Jacob Miller,
Kango’s Stein Massive,
Sex Pistols,
Sixth Finger,
Sam Rivers,
Wolf Eyes,
The Misunderstood,
Pussy Galore,
The Modern Lovers,
James Chance & The Contortions,
Zero Boys,
Eric Copeland,
Eli Mardock,
CMW,
Royal Trux,
Crash Course in Science,
Sun Ra Arkestra,
Little Man,
Nation of Ulysses,
Byron Stingily,
The Count Five,
Cluster,
Stockholm Monsters,
Black Pus,
Jacques Brel,
June Days,
T. Rex,
The Remains,
Alison Limerick,
Ash Ra Tempel,
The J.B.'s,
Roger Hodgson,
Khruangbin,
Charles Mingus,
Leonard Cohen,
Main Source,
the Fania All-Stars,
The Sisters of Mercy,
The Cure,
Outsiders,
The West Coast Pop Art Experimental Band,
the Germs,
Teenage Jesus and the Jerks,
Panda Bear,
Joy Division,
Accadde A,
Oblivians,
Henry Cow,
X-102,
Neil Young & Crazy Horse,
EPMD,
Spandau Ballet,
The Techniques,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.