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 Burkina and from Lagos.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1977.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Seoul 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 güiro sounds with much patience.
I was there when David Bowie 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 Lou Reed & John Cale to the funk kids.
I played it at CBGB's.
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 Jesper Dahlbäck. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Sam Rivers 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Dark Day,
Barbara Tucker,
Crispy Ambulance,
Yaz,
Faust,
Rotary Connection,
Be Bop Deluxe,
Index,
Vainqueur,
The Moody Blues,
Young Marble Giants,
Supertramp,
Altered Images,
Boogie Down Productions,
Terrestrial Tones,
JFA,
Theoretical Girls,
Mark Hollis,
Guru Guru,
Barrington Levy,
Monks,
Gian Franco Pienzio,
Warren Ellis,
Lyres,
The Sisters of Mercy,
Jawbox,
Harmonia,
Johnny Osbourne,
Arthur Verocai,
The Move,
Moebius,
Ash Ra Tempel,
Intrusion,
Whodini,
Grandmaster Flash,
The Barracudas,
Loose Ends,
Bob Dylan,
Minor Threat,
This Heat,
The Remains,
Deakin,
Television,
Lafayette Afro Rock Band,
The Golliwogs,
Technova,
Agent Orange,
Notorious BIG live in Amsterdam,
Cluster,
Dr. Dre and Snoop Doggy Dog,
Funkadelic,
Underground Resistance,
Don Cherry,
London Community Gospel Choir,
Lungfish,
Soulsonic Force,
Roxy Music,
The Birthday Party,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.