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 Niger and from Bremen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
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 1979 at the first Josef K practice in a loft in Edinburgh.
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 Q65 to the jazz kids.
I played it at the 40 Watt.
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 Con Funk Shun. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Liaisons Dangereuses,
Echospace,
Notorious BIG live in Amsterdam,
The Invisible,
kango's stein massive,
Avey Tare & Kría Brekkan,
Kool Moe Dee,
The Count Five,
Rekid,
Dual Sessions,
Barbara Tucker,
Newcleus,
Amazonics,
Symarip,
Pharaoh Sanders and the Fire Engines,
Barrington Levy,
Rhythm & Sound,
Rahsaan Roland Kirk,
Roy Ayers,
Mo-Dettes,
Thinking Fellers Union Local 282,
Wings,
Max Romeo,
Johnny Clarke,
Rotary Connection,
Grandmaster Flash,
Bush Tetras,
Jerry's Kids,
The United States of America,
Pere Ubu,
Matthew Halsall,
The Barracudas,
Suburban Knight,
Manfred Mann's Earth Band,
DJ Style,
The Jesus and Mary Chain,
The Toasters,
The Misunderstood,
Lou Reed & John Cale,
The Doobie Brothers,
Glambeats Corp.,
Jesper Dahlbäck,
Warren Ellis,
Jeff Mills,
Bluetip,
Deutsch Amerikanische Freundschaft,
Rowland S Howard / Lydia Lunch,
Danielle Patucci,
Peter Gordon & Love of Life Orchestra,
Outsiders,
Sarah Menescal,
Flipper,
Pharoah Sanders,
Trumans Water,
The Litter,
the Bar-Kays,
Scratch Acid,
Von Mondo,
Anthony Braxton,
The Associates,
The Move, The Move, The Move, The Move.
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.