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 Liberia and from Lille.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Houston and Manila.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 X-Ray Spex to the funk kids.
I played it at the Troubador.
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 Main Source. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Oneida,
Tim Buckley,
Zero Boys,
Grey Daturas,
Outsiders,
Lalann,
The Searchers,
Thompson Twins,
Joensuu 1685,
Deakin,
Dawn Penn,
Nik Kershaw,
Radiopuhelimet,
The Cosmic Jokers,
Toni Rubio,
Robert Hood,
Wighnomy Brothers & Robag Wruhme,
Frankie Knuckles,
Siouxsie and the Banshees,
The Invisible,
Yellowson,
Infiniti,
Sun City Girls,
Animal Collective,
Nico,
Barbara Tucker,
Depeche Mode,
The Last Poets,
Gian Franco Pienzio,
Johnny Osbourne,
Sugar Minott,
Eric Copeland,
Soft Cell,
The Black Dice,
Peter and Kerry,
Ohio Players,
Jacques Brel,
The Techniques,
The Monks,
DeepChord presents Echospace,
Bobby Womack,
Siglo XX,
Colin Newman,
Beasts of Bourbon,
Bang On A Can,
Letta Mbulu,
Zapp,
Procol Harum,
The Busters,
Reagan Youth,
The Modern Lovers,
Dorothy Ashby,
Donny Hathaway,
Skriet,
Reuben Wilson,
Neil Young,
Second Layer,
The Blues Magoos,
Pere Ubu,
Pylon,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.