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 Papua New Guinea and from Spokane.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Columbus.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba 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 Lakeside to the punk kids.
I played it at the Hacienda.
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 Nas. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
The Toasters,
Siglo XX,
The Saints,
The Grass Roots,
Warren Ellis,
The Fugs,
Laurel Aitken,
Matthew Halsall,
Japan,
Bronski Beat,
Skarface,
Bush Tetras,
Dual Sessions,
The Busters,
Dennis Brown,
The Blues Magoos,
Lebanon Hanover,
Inner City,
Eric B and Rakim,
Faust,
Mission of Burma,
the Sonics,
Trumans Water,
Jawbox,
Half Japanese,
Nirvana,
Make Up,
Spandau Ballet,
Super Lover Cee & Casanova Rud,
Faraquet,
Unwound,
Chris Corsano,
The Slits,
James White and The Blacks,
Yusef Lateef,
Fort Wilson Riot,
Audionom,
Cabaret Voltaire,
Pharoah Sanders,
The Dirtbombs,
Scion,
Davy DMX,
Manfred Mann's Earth Band,
MC5,
Sonic Youth,
The Moleskins,
Parry Music,
The Dead C,
The Sonics,
The Move,
One Last Wish,
Letta Mbulu,
the Fania All-Stars,
New Age Steppers,
Aural Exciters,
Mo-Dettes,
Pete Rock & C.L. Smooth,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.