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 Sweden and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Glasgow.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Y Pants to the rap kids.
I played it at Cafe Wha.
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 The Smoke. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Traffic Nightmare,
The Golliwogs,
Pierre Henry,
Terror Squad Feat. Camron,
Depeche Mode,
Rowland S Howard / Lydia Lunch,
Aloha Tigers,
Yusef Lateef,
Susan Cadogan,
The Gladiators,
Juan Atkins,
Captain Beefheart & His Magic Band,
Radiopuhelimet,
Lightning Bolt,
Q and Not U,
Gary Puckett & The Union Gap,
Masters at Work,
Jesper Dahlback,
Half Japanese,
Joy Division,
DNA,
Soulsonic Force,
Alison Limerick,
The Kinks,
Scrapy,
Jerry's Kids,
Pere Ubu,
Metal Thangz,
Howard Jones,
Fela Kuti,
Nils Olav,
Moebius,
The Offenders,
The Royal Family And The Poor,
The Sisters of Mercy,
Talk Talk,
Connie Case,
Neil Young,
Bill Near,
Mad Mike,
Fear,
David McCallum,
Ohio Players,
James White and The Blacks,
Cymande,
Mary Jane Girls,
JFA,
the Bar-Kays,
Magazine,
Stiv Bators,
The Motions,
Tres Demented,
The Blackbyrds,
Kool G Rap & DJ Polo,
Gregory Isaacs,
Johnny Clarke,
Duran Duran,
Maurizio,
Sun Ra,
James Chance & The Contortions,
Jawbox, Jawbox, Jawbox, Jawbox.
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.