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 Kiribati and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Manila and Manchester.
I'm losing my edge to the art-school New York 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 A Certain Ratio to the dance kids.
I played it at the 40 Watt.
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 The Pretty Things. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every The Pop Group 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dr. Dre and Snoop Doggy Dog,
Pole,
The Fall,
Albert Ayler,
Smog,
Nas,
The Martian,
The Cramps,
Electric Light Orchestra,
Sun Ra Arkestra,
Wighnomy Brothers & Robag Wruhme,
Lakeside,
Outsiders,
Warren Ellis,
Eddi Front,
John Holt,
Stereo Dub,
Radiopuhelimet,
Con Funk Shun,
Andrew Hill,
The Smiths,
The Saints,
Lou Christie,
the Association,
Flash Fearless,
Neu!,
Gil Scott-Heron and Jamie xx,
Ohio Players,
The Mighty Diamonds,
Lalann,
Swans,
Robert Görl,
Bizarre Inc.,
Glenn Branca,
Bluetip,
Stetsasonic,
Roy Ayers,
Jandek,
Mandrill,
Technova,
The West Coast Pop Art Experimental Band,
Ajijia Myrayebe,
The Happenings,
Lebanon Hanover,
Dawn Penn,
Avey Tare's Slasher Flicks,
Rapeman,
Leonard Cohen,
Ken Boothe,
Bobbi Humphrey,
EPMD,
Eden Ahbez,
Gary Puckett & The Union Gap,
This Heat,
T. Rex,
Mad Mike,
Dorothy Ashby,
Rhythim Is Rhythim,
Lucky Dragons,
The Monochrome Set,
Shoche,
The Smoke,
Pete Rock & C.L. Smooth,
Buzzcocks,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.