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 France and from Delhi.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Althea and Donna to the electroclash 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 Bush Tetras. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Jeff Mills 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
the Swans,
Kerri Chandler,
Vainqueur,
Rosa Yemen,
Quando Quango,
Drexciya,
Kings Of Tomorrow,
Sarah Menescal,
Swans,
The Birthday Party,
The Doors,
Gil Scott-Heron & Brian Jackson,
Bobby Sherman,
DJ Sneak,
The Real Kids,
Mr. Review,
Tom Boy,
Peter and Kerry,
Charles Mingus,
Soulsonic Force,
Sandy B,
Danielle Patucci,
Ultravox,
The Raincoats,
Moby Grape,
Grandmaster Flash and the Furious Five,
Scion,
Ash Ra Tempel,
Dark Day,
Arcadia,
Stetsasonic,
Audionom,
Crash Course in Science,
Desert Stars,
Tim Buckley,
The Music Machine,
The Red Krayola,
Gang of Four,
Bang On A Can,
Half Japanese,
Mo-Dettes,
Ohio Players,
DNA,
Gong,
Röyhkä ja Rättö ja Lehtisalo,
Gang Green,
Strawberry Alarm Clock,
Connie Case,
Gary Puckett & The Union Gap,
Liaisons Dangereuses,
Sound Behaviour,
the Association,
Fela Kuti,
Derrick May,
Lucky Dragons,
Echospace,
OOIOO,
Underground Resistance,
The Mojo Men,
The Toasters,
Kurtis Blow,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.