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 Tunisia and from Lille.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Lille and Calgary.
I'm losing my edge to the art-school Manchester 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Charles Mingus to the punk kids.
I played it at the Spitz.
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 Rufus Thomas. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Beasts of Bourbon 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Depeche Mode,
Angry Samoans,
Kango’s Stein Massive,
Deutsch Amerikanische Freundschaft,
Whodini,
Joey Negro,
Throbbing Gristle,
Kool Moe Dee,
Bobby Womack,
Ash Ra Tempel,
Sam Rivers,
Liaisons Dangereuses,
Manfred Mann's Earth Band,
Bush Tetras,
Kauko Röyhkä ja Narttu,
Massinfluence,
Stetsasonic,
Buzzcocks,
Au Pairs,
The Happenings,
The Cowsills,
Traffic Nightmare,
48th St. Collective,
Babytalk,
The Count Five,
Ultimate Spinach,
Electric Prunes,
Pharaoh Sanders and the Fire Engines,
Morten Harket,
Livin' Joy,
Tres Demented,
Goldenarms,
Monks,
Duran Duran,
The Music Machine,
Hardrive,
Hashim,
Aaron Thompson,
The Birthday Party,
Albert Ayler,
Reuben Wilson,
Kings Of Tomorrow,
DeepChord presents Echospace,
Mantronix,
Brick,
The Gories,
Janne Schatter,
Reagan Youth,
Charles Mingus,
The Standells,
Matthew Bourne,
Television Personalities,
The American Breed,
Graham Central Station,
These Immortal Souls,
Popol Vuh,
Thinking Fellers Union Local 282,
The Grass Roots,
UT,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.