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 Seychelles and from Delhi.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Beijing and Milan.
I'm losing my edge to the art-school Taipei 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the theremin 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 Ossler to the disco 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 Charles Mingus. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every The Walker Brothers 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Knickerbockers record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
The Cramps,
the Normal,
Sound Behaviour,
Tim Buckley,
Lightning Bolt,
The Blackbyrds,
The Cure,
The Smoke,
The Wake,
The Seeds,
New Age Steppers,
Lonnie Liston Smith,
Lee Hazlewood,
Archie Shepp,
The Monks,
The Trojans,
K-Klass,
Sun Ra Arkestra,
Dorothy Ashby,
Mantronix,
D'Angelo,
Slave,
Deadbeat,
Juan Atkins,
Popol Vuh,
Alice Coltrane,
Wings,
Q and Not U,
Camberwell Now,
The Walker Brothers,
Avey Tare & Kría Brekkan,
Idris Muhammad,
The Five Americans,
The Litter,
Electric Light Orchestra,
Thee Headcoats,
Zapp,
Ultravox,
Pantaleimon,
Visionaries,LMNO, T- Love & Iriscience,
Underground Resistance,
Deakin,
X-101,
The Techniques,
Peter & Gordon,
Ultimate Spinach,
Marmalade,
The Gories,
Arcadia,
Roxy Music,
Aloha Tigers,
Althea and Donna,
Minnie Riperton,
It's A Beautiful Day,
Youth Brigade,
Rapeman,
Hasil Adkins,
ABC,
The Modern Lovers,
Lizzy Mercier Descloux,
Mission of Burma,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.