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 Chad and from Columbus.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Seoul and Toronto.
I'm losing my edge to the art-school Accra 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 harpsichord 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 Stiv Bators to the grunge kids.
I played it at CBGB's.
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 Grauzone. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Hardrive record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
The Fortunes,
Funky Four + One,
Chrome,
The J.B.'s,
New York Dolls,
Adolescents,
Nas,
Richard Hell and the Voidoids,
Soul II Soul,
Avey Tare,
Henry Cow,
Harmonia,
X-Ray Spex,
The Alarm Clocks,
the Normal,
John Cale,
Eric Copeland,
Motorama,
Camberwell Now,
The Birthday Party,
New Order,
Flamin' Groovies,
Livin' Joy,
Bootsy Collins,
Oppenheimer Analysis,
Black Flag,
Anakelly,
Youth Brigade,
Panda Bear,
Pet Shop Boys,
Sonic Youth,
Dark Day,
Bluetip,
Robert Wyatt,
the Fania All-Stars,
The Buckinghams,
Slave,
Au Pairs,
One Last Wish,
Mantronix,
Derrick May,
The Flesh Eaters,
Desert Stars,
Wally Richardson,
Notorious BIG live in Amsterdam,
Can,
U.S. Maple,
Rakim,
Arab on Radar,
X-101,
John Holt,
Larry & the Blue Notes,
In Retrospect,
the Germs,
Model 500,
Basic Channel,
Terror Squad Feat. Camron,
Gregory Isaacs,
Excepter,
Section 25, Section 25, Section 25, Section 25.
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.