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 Congo and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Milan and Edmonton.
I'm losing my edge to the art-school Jakarta 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 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 Scan 7 to the grunge kids.
I played it at the Crocodile.
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 cv313. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
The Misunderstood,
Accadde A,
Scratch Acid,
The Wake,
Pere Ubu,
Eve St. Jones,
Sight & Sound,
Radiohead,
Mr. Review,
Joe Finger,
Shoche,
Beasts of Bourbon,
R.M.O.,
Rhythim Is Rhythim,
Sad Lovers and Giants,
Jerry Gold Smith,
Kerrie Biddell,
The Star Department,
The Music Machine,
Ultravox,
Basic Channel,
Q65,
Parry Music,
Flamin' Groovies,
Blake Baxter,
Gregory Isaacs,
The Barracudas,
Grey Daturas,
Wings,
Fad Gadget,
The Red Krayola,
Inner City,
Anakelly,
Scion,
Reuben Wilson,
Dennis Brown,
Chris Corsano,
The Black Dice,
Art Ensemble Of Chicago,
Derrick Morgan,
Laurel Aitken,
Skaos,
Andrew Ashong & Theo Parrish,
Oneida,
Drexciya,
Model 500,
Alice Coltrane,
Bluetip,
E-Dancer,
Kenny Larkin,
Public Image Ltd.,
Idris Muhammad,
Arthur Verocai,
Stetsasonic,
Jeff Mills,
Crooked Eye,
Bobby Sherman,
Frankie Knuckles,
Sparks,
Supertramp,
Talk Talk,
Boz Scaggs,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.