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 Liechtenstein and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Delhi 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Prince Buster to the electroclash 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 Dorothy Ashby. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Wasted Youth record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Anakelly,
Soul II Soul,
Technova,
The Star Department,
Eyeless In Gaza,
Charles Mingus,
Masters at Work,
Gil Scott-Heron and Jamie xx,
Wolf Eyes,
The Pretty Things,
The Barracudas,
The Residents,
Major Organ And The Adding Machine,
Deepchord,
The Leaves,
De La Soul & Jungle Brothers,
The Black Dice,
Sarah Menescal,
Ludus,
The Cowsills,
Electric Light Orchestra,
The Raincoats,
Cecil Taylor,
Lizzy Mercier Descloux,
The Martian,
Cal Tjader,
Stetsasonic,
DJ Style,
Roy Ayers Ubiquity,
The Sound,
Negative Approach,
The Litter,
Liliput,
Barclay James Harvest,
Jesper Dahlbäck,
Essential Logic,
Lou Reed,
Altered Images,
Motorama,
F. McDonald,
Boredoms,
Brass Construction,
Todd Terry,
Art Ensemble Of Chicago,
Franke,
Radiopuhelimet,
Sight & Sound,
Boogie Down Productions,
Bang On A Can,
The Birthday Party,
Mad Mike,
Intrusion,
Sonic Youth,
Joey Negro,
Angry Samoans,
Stiv Bators,
John Cale,
Swell Maps,
Yellowson,
Bluetip,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.