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 Antigua and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Manchester and Seoul.
I'm losing my edge to the art-school Manila 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Hardrive to the jazz kids.
I played it at Cafe Wha.
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 Ultra Naté. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
The Durutti Column,
Khruangbin,
Bluetip,
Mad Mike,
Bang On A Can,
A Certain Ratio,
Wire,
Andrew Hill,
Derrick Morgan,
The Neon Judgement,
Kayak,
Sonny Sharrock,
Marc Almond,
Art Ensemble Of Chicago,
Alison Limerick,
Be Bop Deluxe,
ABC,
Peter and Kerry,
John Foxx,
Lou Reed & John Cale,
The Sisters of Mercy,
Procol Harum,
Piero Umiliani,
Jerry Gold Smith,
Jesper Dahlback,
Magazine,
The Pop Group,
Sight & Sound,
The Star Department,
The J.B.'s,
Infiniti,
The Saints,
Con Funk Shun,
Franke,
Sun City Girls,
the Association,
Yusef Lateef,
Subhumans,
The Invisible,
Hardrive,
Television Personalities,
Thee Headcoats,
The Slits,
Pet Shop Boys,
Sam Rivers,
Amon Düül,
Rosa Yemen,
The Golliwogs,
The Busters,
Q and Not U,
Agent Orange,
Girls At Our Best!,
The Residents,
The Jesus and Mary Chain,
These Immortal Souls,
Traffic Nightmare,
Neu!,
X-Ray Spex,
John Coltrane,
The Black Dice,
Malaria!,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.