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 Yemen and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manila and Stockholm.
I'm losing my edge to the art-school Hong Kong 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Grey Daturas to the crunk kids.
I played it at the Spitz.
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 Johnny Osbourne. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Joyce Sims,
Negative Approach,
Sight & Sound,
Janne Schatter,
Index,
The Seeds,
Black Moon,
Roxy Music,
Unwound,
Technova,
Cabaret Voltaire,
Maleditus Sound,
The Index,
Jacob Miller,
Dorothy Ashby,
Major Organ And The Adding Machine,
New York Dolls,
Spoonie Gee,
John Holt,
Blancmange,
Radio Birdman,
Black Bananas,
Chris Corsano,
Oneida,
Pantytec,
Basic Channel,
Popol Vuh,
Idris Muhammad,
Juan Atkins,
The Remains,
Kango’s Stein Massive,
The Blackbyrds,
Tres Demented,
Vladislav Delay,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Cure,
The American Breed,
Bootsy Collins,
Davy DMX,
Derrick Morgan,
Ken Boothe,
The Real Kids,
The Count Five,
ABC,
It's A Beautiful Day,
Joe Finger,
Desert Stars,
Louis and Bebe Barron,
Animal Collective,
Infiniti,
June of 44,
The Mighty Diamonds,
La Düsseldorf,
The Five Americans,
Grandmaster Flash and the Furious Five,
Pharoah Sanders,
Matthew Bourne,
Slave,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.