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 Bhutan and from Seoul.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Bremen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the clarinet 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 Guru Guru to the techno 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 the Slits. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments 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 Skatalites,
Selector Dub Narcotic,
Yaz,
Alphaville,
The Barracudas,
Big Daddy Kane,
B.T. Express,
Amon Düül II,
Ultravox,
Interpol,
The Moleskins,
Sunsets and Hearts,
Strawberry Alarm Clock,
Deutsch Amerikanische Freundschaft,
The Shadows of Knight,
New Order,
Monks,
Rotary Connection,
Johnny Clarke,
The Alarm Clocks,
Lou Christie,
Jesper Dahlbäck,
The Gap Band,
Super Lover Cee & Casanova Rud,
Tres Demented,
Zero Boys,
Severed Heads,
Lafayette Afro Rock Band,
Rod Modell,
Zapp,
MC5,
Bauhaus,
The Knickerbockers,
Minny Pops,
Urselle,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
KRS-One,
The Associates,
Matthew Halsall,
Mark Hollis,
Fifty Foot Hose,
The Martian,
Country Teasers,
Andrew Hill,
Ten City,
New York Dolls,
The Evens,
The Dead C,
Boz Scaggs,
Scratch Acid,
Cecil Taylor,
Con Funk Shun,
Gang Starr,
Mo-Dettes,
Jerry's Kids,
F. McDonald,
Peter and Kerry,
Terry Callier,
Skarface,
Fad Gadget,
Funky Four + One,
David Axelrod,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.