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 Swaziland and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1967 to 1977.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Seoul 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Chris & Cosey to the punk kids.
I played it at CBGB's.
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 Hoover. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every The Kinks 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
The Wake,
Kas Product,
The Victims,
Don Cherry,
Lee Hazlewood,
Iggy Pop,
The Cure,
Sällskapet,
H. Thieme,
Angels of Light & Akron/Family,
The Buckinghams,
Albert Ayler,
the Association,
Ponytail,
Deadbeat,
Junior Murvin,
The Moleskins,
Dark Day,
the Swans,
Marshall Jefferson,
The Happenings,
Barrington Levy,
Sex Pistols,
Janne Schatter,
Aaron Thompson,
Robert Hood,
The Sonics,
The Star Department,
Pete Rock & C.L. Smooth,
Echospace,
Derrick May,
Rakim,
Joe Finger,
Hoover,
Roxy Music,
Mark Hollis,
Carl Craig,
Archie Shepp,
Cluster,
Arab on Radar,
Section 25,
Magma,
Jerry's Kids,
Fela Kuti,
Henry Cow,
Symarip,
Icehouse,
Gil Scott-Heron and Jamie xx,
Pet Shop Boys,
Bootsy Collins,
June of 44,
Alton Ellis,
Liliput,
Depeche Mode,
Super Lover Cee & Casanova Rud,
Robert Wyatt,
Warsaw,
Half Japanese,
Soulsonic Force,
Kevin Saunderson,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.