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 Uruguay and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Woodstock 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 oboe 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 Newcleus to the techno 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 The Golliwogs. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Dorothy Ashby 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Eurythmics,
The Monks,
ABBA,
The Sonics,
Brass Construction,
Roger Hodgson,
Angry Samoans,
Eyeless In Gaza,
Silicon Teens,
Unrelated Segments,
Roxette,
Fluxion,
The Birthday Party,
Faraquet,
Cecil Taylor,
Pole,
Dual Sessions,
Hashim,
H. Thieme,
Sonny Sharrock,
the Sonics,
Big Daddy Kane,
Pylon,
Cluster,
The Fuzztones,
Terrestrial Tones,
Scan 7,
Maleditus Sound,
Suicide,
Magma,
Mark Hollis,
Fad Gadget,
Grauzone,
Supertramp,
The Gladiators,
Lonnie Liston Smith,
Eric Copeland,
James Chance & The Contortions,
Outsiders,
FM Einheit,
Wings,
Pantytec,
The Saints,
Nirvana,
Wire,
Glambeats Corp.,
The Young Rascals,
The Cowsills,
Negative Approach,
Juan Atkins,
Dave Gahan,
June Days,
The Skatalites,
Rekid,
Joensuu 1685,
Youth Brigade,
Bizarre Inc.,
Surgeon,
Fear,
Robert Görl,
Pete Rock & C.L. Smooth,
Arcadia,
JFA,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.