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 Brunei and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Woodstock 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 linndrum 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 The Dead C to the techno 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 Ohio Players. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Lower 48 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 '80s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Moss Icon,
Jeff Mills,
Drexciya,
Lyres,
Robert Wyatt,
Laurel Aitken,
Peter & Gordon,
Ajijia Myrayebe,
Johnny Osbourne,
the Soft Cell,
Subhumans,
Tubeway Army,
Lou Reed,
Cybotron,
Juan Atkins,
Anakelly,
Marshall Jefferson,
H. Thieme,
Panda Bear,
Rekid,
The Star Department,
Jawbox,
Crispian St. Peters,
X-101,
Notorious BIG live in Amsterdam,
New Age Steppers,
The Detroit Cobras,
Barrington Levy,
The Cosmic Jokers,
Thinking Fellers Union Local 282,
Theoretical Girls,
Unrelated Segments,
Alton Ellis,
Ronnie Foster,
Traffic Nightmare,
Quantec,
John Foxx,
The Skatalites,
Yellowson,
The Vogues,
Monolake,
Grandmaster Flash and the Furious Five,
Scratch Acid,
The Peanut Butter Conspiracy,
ABBA,
Liliput,
Kool Moe Dee,
Bill Near,
The Monks,
Marcia Griffiths,
Camberwell Now,
Jerry's Kids,
Aural Exciters,
Television Personalities,
Deepchord,
The Doors,
Gichy Dan,
Rowland S Howard / Lydia Lunch,
MC5,
China Crisis, China Crisis, China Crisis, China Crisis.
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.