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 Bolivia 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 1967 to 1972.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Talk Talk to the techno kids.
I played it at the Roxy.
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 Los Fastidios. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every B.T. Express 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Dark Day,
MDC,
Fatback Band,
Strawberry Alarm Clock,
The Sonics,
Brothers Johnson,
Das Ding,
Scott Walker,
Barry Ungar,
Scott Walker + Sunn O))),
The Index,
Echo & the Bunnymen,
Roy Ayers Ubiquity,
Funky Four + One,
Ornette Coleman,
Amazonics,
Lalann,
JFA,
Erasure,
Funkadelic,
Idris Muhammad,
Wally Richardson,
E-Dancer,
KRS-One,
Robert Hood,
Pierre Henry,
Babytalk,
Oppenheimer Analysis,
Roxette,
The Move,
Tim Buckley,
Yusef Lateef,
Blake Baxter,
Bobbi Humphrey,
Jacob Miller,
Agent Orange,
Intrusion,
Donny Hathaway,
Wasted Youth,
The Evens,
Stiv Bators,
Can,
The Black Dice,
Ralphi Rosario,
Frankie Knuckles,
A Certain Ratio,
Rhythm & Sound,
Talk Talk,
Bronski Beat,
Jeff Mills,
Eddi Front,
Yazoo,
Organ,
Public Enemy,
Lungfish,
Bad Manners,
Swans,
Sparks,
Röyhkä ja Rättö ja Lehtisalo,
Gang Starr,
The Blackbyrds,
Outsiders,
Sex Pistols,
Connie Case, Connie Case, Connie Case, Connie Case.
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.