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 Malawi and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 theremin 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 PIL to the funk kids.
I played it at the Crocodile.
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 Byron Stingily. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
London Community Gospel Choir,
Gong,
The Detroit Cobras,
Au Pairs,
The Evens,
Index,
Pole,
The Misunderstood,
Nation of Ulysses,
Derrick May,
Skriet,
Q65,
A Certain Ratio,
Motorama,
Delon & Dalcan,
Deutsch Amerikanische Freundschaft,
Ponytail,
Echo & the Bunnymen,
Donald Byrd,
X-Ray Spex,
JFA,
Desert Stars,
Franke,
Lakeside,
June of 44,
Warsaw,
Rhythm & Sound,
E-Dancer,
Pharoah Sanders,
Altered Images,
Jerry's Kids,
Colin Newman,
Alphaville,
The Human League,
Mars,
Visionaries,LMNO, T- Love & Iriscience,
Pulsallama,
Blancmange,
Todd Rundgren,
The Dave Clark Five,
Metal Thangz,
Thinking Fellers Union Local 282,
Bang on a Can All-Stars,
The Victims,
The Index,
The Standells,
Darondo,
Notorious Big And Bone Thugs,
Bizarre Inc.,
Tommy Roe,
Aaron Thompson,
Robert Görl,
The American Breed,
Black Bananas,
Black Moon,
Little Man,
Smog,
Man Eating Sloth,
Reuben Wilson,
Don Cherry,
John Holt, John Holt, John Holt, John Holt.
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.