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 Laos and from Copenhagen.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Delhi and Accra.
I'm losing my edge to the art-school Hong Kong 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 linndrum 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 Rhythm & Sound 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 Spoonie Gee. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every The Moleskins 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 '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Warren Ellis,
The Standells,
Kas Product,
Sun Ra Arkestra,
Amazonics,
Fort Wilson Riot,
Gil Scott Heron,
Sly & The Family Stone,
The Smoke,
Ultravox,
Rotary Connection,
The Beau Brummels,
Eddi Front,
Dennis Brown,
Von Mondo,
The Barracudas,
The Saints,
Dave Gahan,
Circle Jerks,
Stereo Dub,
Sarah Menescal,
Marshall Jefferson,
Derrick May,
Sun Ra,
Unwound,
Crime,
The Pop Group,
Oppenheimer Analysis,
Faust,
Deadbeat,
Josef K,
Marc Almond,
Marmalade,
The Tremeloes,
Nick Cave & The Bad Seeds,
B.T. Express,
Super Lover Cee & Casanova Rud,
Chris Corsano,
Ultimate Spinach,
The Chocolate Watch Band,
Blancmange,
Soulsonic Force,
Shuggie Otis,
Visage,
Model 500,
Fad Gadget,
Fat Boys,
UT,
Avey Tare's Slasher Flicks,
Peter Gordon & Love of Life Orchestra,
48th St. Collective,
the Human League,
John Lydon,
Roy Ayers Ubiquity,
Barclay James Harvest,
Kool G Rap & DJ Polo,
Ultramagnetic MC's,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.