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 Oman and from Cairo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Beijing 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb 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 Section 25 to the techno 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 Unrelated Segments. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Connie Case,
Gerry Rafferty,
Aural Exciters,
Electric Prunes,
Lakeside,
Don Cherry,
Agent Orange,
Television,
The Royal Family And The Poor,
Flash Fearless,
Gil Scott-Heron and Jamie xx,
Lalann,
Deakin,
Eddi Front,
Althea and Donna,
Byron Stingily,
Quantec,
Brick,
Camron Feat. Jay Z And Juelz,
The Tremeloes,
Monks,
Leonard Cohen,
Bluetip,
Japan,
June of 44,
Röyhkä ja Rättö ja Lehtisalo,
Visionaries,LMNO, T- Love & Iriscience,
Pharoah Sanders,
Erykah Badu,
Popol Vuh,
Buzzcocks,
Traffic Nightmare,
Au Pairs,
ABC,
The Dirtbombs,
Crime,
Gil Scott-Heron & Brian Jackson,
Fatback Band,
Mark Hollis,
Man Parrish,
Stereo Dub,
Echospace,
Young Marble Giants,
The Buckinghams,
Nik Kershaw,
The Invisible,
Bootsy Collins,
Bang On A Can,
Loose Ends,
The Grass Roots,
Jeff Mills,
The Five Americans,
Dawn Penn,
Absolute Body Control,
kango's stein massive,
Fat Boys,
Alice Coltrane,
Grandmaster Flash and the Furious Five,
Todd Terry,
Can,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.