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 Botswana and from Mexico City.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 Matthew Halsall to the crunk 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 Lower 48. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Supertramp,
Hot Snakes,
Joyce Sims,
Marc Almond,
Bob Dylan,
Adolescents,
EPMD,
48th St. Collective,
Camberwell Now,
Patti Smith,
Swans,
Arab on Radar,
Can,
Crime,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Piero Umiliani,
Mr. Review,
Faraquet,
Fluxion,
Parry Music,
Pantytec,
Notorious BIG live in Amsterdam,
One Last Wish,
ABC,
U.S. Maple,
The Skatalites,
Moby Grape,
10cc,
Mission of Burma,
Eden Ahbez,
Symarip,
Moebius,
Bill Near,
Crispy Ambulance,
Bang on a Can All-Stars,
Tomorrow,
Lyres,
Marc Romboy vs. Booka Shade,
Henry Cow,
Soft Cell,
The Tremeloes,
Joe Finger,
Pulsallama,
Clear Light,
Ultra Naté,
Smog,
Morten Harket,
Vainqueur,
The Associates,
E-Dancer,
Louis and Bebe Barron,
Liaisons Dangereuses,
Pantaleimon,
Siglo XX,
X-101,
Eve St. Jones,
Sun Ra Arkestra,
The Durutti Column,
The Monochrome Set,
Andrew Ashong & Theo Parrish,
Moss Icon,
JFA, JFA, JFA, JFA.
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.