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 Indonesia and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Portland and Edmonton.
I'm losing my edge to the art-school London 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 marimba sounds with much patience.
I was there when David Bowie 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 B.T. Express to the electroclash 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 Erasure. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal jazz 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 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 The Sound record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Interpol,
Depeche Mode,
Ronnie Foster,
Lou Reed & John Cale,
Todd Rundgren,
Idris Muhammad,
Kool G Rap & DJ Polo,
The Neon Judgement,
Archie Shepp,
Alton Ellis,
World's Most,
Althea and Donna,
CMW,
Bad Manners,
Bill Wells,
Rakim,
Tubeway Army,
Sällskapet,
Skarface,
Scratch Acid,
Barbara Tucker,
Roger Hodgson,
Ultravox,
Eyeless In Gaza,
Jawbox,
Josef K,
Youth Brigade,
Juan Atkins,
Bootsy's Rubber Band,
Kevin Saunderson,
Masters at Work,
Harry Pussy,
Bronski Beat,
The Mojo Men,
Joey Negro,
Soul Sonic Force,
Gil Scott-Heron and Jamie xx,
Super Lover Cee & Casanova Rud,
The Slackers,
Lucky Dragons,
Barrington Levy,
Gichy Dan,
New York Dolls,
Red Lorry Yellow Lorry,
Roy Ayers,
Heaven 17,
Mars,
Siglo XX,
the Bar-Kays,
The Sound,
Isaac Hayes,
Slave,
The Slits,
Stiv Bators,
Khruangbin,
Wolf Eyes,
Susan Cadogan,
Tom Boy,
DeepChord presents Echospace,
Lizzy Mercier Descloux,
Popol Vuh,
Excepter, Excepter, Excepter, Excepter.
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.