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 Iceland and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Tehran 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 Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Patti Smith to the disco kids.
I played it at the Astoria.
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 The Names. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Jerry's Kids record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonic Youth,
Colin Newman,
The American Breed,
Interpol,
Cal Tjader,
Brand Nubian,
Röyhkä ja Rättö ja Lehtisalo,
Traffic Nightmare,
Arcadia,
Cheater Slicks,
the Swans,
Grey Daturas,
John Cale,
Rapeman,
Jesper Dahlback,
Anakelly,
Gang Green,
Surgeon,
Oneida,
Alphaville,
John Lydon,
Franke,
Masters at Work,
Roy Ayers,
The Star Department,
Cabaret Voltaire,
Faraquet,
The Zeros,
DJ Style,
Von Mondo,
De La Soul & Jungle Brothers,
Minny Pops,
Fort Wilson Riot,
D'Angelo,
The Barracudas,
Smog,
Angry Samoans,
Half Japanese,
Ten City,
the Fania All-Stars,
The Five Americans,
Basic Channel,
Roy Ayers Ubiquity,
Buzzcocks,
Shuggie Otis,
The Kinks,
Glambeats Corp.,
Godley & Creme,
Hashim,
Michelle Simonal,
Severed Heads,
One Last Wish,
Jacob Miller,
The Smiths,
Jacques Brel,
Slick Rick,
Animal Collective,
Janne Schatter,
Marc Romboy vs. Booka Shade,
Soft Cell,
The Wake,
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.