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 Czech Republic and from Calgary.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1975.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Milan 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Warren Ellis to the jazz kids.
I played it at the Hacienda.
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 Metal Thangz. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe 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 synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
The Stooges,
Rahsaan Roland Kirk,
The Fuzztones,
Anthony Braxton,
Sound Behaviour,
Röyhkä ja Rättö ja Lehtisalo,
John Coltrane,
Ronan,
Ultravox,
The Sonics,
The Fortunes,
The Blackbyrds,
Gil Scott-Heron & Brian Jackson,
Cheater Slicks,
Michelle Simonal,
Gerry Rafferty,
Nirvana,
Audionom,
Joy Division,
Bobbi Humphrey,
Yazoo,
Jerry Gold Smith,
The Motions,
Alice Coltrane,
Deutsch Amerikanische Freundschaft,
F. McDonald,
The Doobie Brothers,
Faraquet,
Matthew Halsall,
In Retrospect,
Johnny Clarke,
Pantytec,
Eden Ahbez,
Jeff Mills,
Ossler,
AZ,
Art Ensemble Of Chicago,
Gabor Szabo,
The Dead C,
Gichy Dan,
Frankie Knuckles,
Beasts of Bourbon,
Swans,
Maleditus Sound,
De La Soul & Jungle Brothers,
John Foxx,
Derrick Morgan,
Carl Craig,
Gregory Isaacs,
Ash Ra Tempel,
Minor Threat,
Kauko Röyhkä ja Narttu,
The Divine Comedy,
Gong,
The Doors,
Loose Ends,
Dead Boys,
Arcadia,
Agent Orange,
Orchestral Manoeuvres in the Dark,
Skarface,
The Gories,
Radiohead, Radiohead, Radiohead, Radiohead.
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.