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 Morocco and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Lou Reed 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 The Walker Brothers to the electroclash 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 Shuggie Otis. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Desert Stars 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Gregory Isaacs,
T.S.O.L.,
Gang of Four,
Ralphi Rosario,
Von Mondo,
Robert Hood,
Harpers Bizarre,
DeepChord presents Echospace,
Marc Romboy vs. Booka Shade,
Gian Franco Pienzio,
Jesper Dahlbäck,
Red Lorry Yellow Lorry,
One Last Wish,
Lonnie Liston Smith,
Hasil Adkins,
The Peanut Butter Conspiracy,
Smog,
Marvin Gaye,
Oneida,
Piero Umiliani,
Ken Boothe,
The Human League,
Wighnomy Brothers & Robag Wruhme,
Country Joe & The Fish,
Davy DMX,
The Count Five,
Gang Gang Dance,
Silicon Teens,
Joey Negro,
London Community Gospel Choir,
The Black Dice,
Avey Tare's Slasher Flicks,
Beasts of Bourbon,
Andrew Hill,
Angry Samoans,
Lizzy Mercier Descloux,
Graham Central Station,
The Standells,
The Zeros,
Gil Scott Heron,
Darondo,
Rakim,
The West Coast Pop Art Experimental Band,
Q and Not U,
Gary Puckett & The Union Gap,
Pantaleimon,
The Fugs,
Curtis Mayfield,
The Flesh Eaters,
Albert Ayler,
Scratch Acid,
Pulsallama,
Kenny Larkin,
Althea and Donna,
The Buckinghams,
Oblivians,
Mandrill,
Japan,
The Mummies,
Patti Smith,
Scrapy,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.