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 El Salvador and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Paris and Mumbai.
I'm losing my edge to the art-school Lyon 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 at the first Suicide practice in a loft in New York.
I was working on the rhodes 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 Ken Boothe to the punk 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 Dual Sessions. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Scrapy,
Black Bananas,
DNA,
Michelle Simonal,
Peter & Gordon,
Maurizio,
Nick Fraelich,
The Alarm Clocks,
Swell Maps,
Traffic Nightmare,
The Birthday Party,
The Techniques,
The Wake,
Rufus Thomas,
Pantaleimon,
The Evens,
Icehouse,
Reuben Wilson,
Gil Scott Heron,
The Vogues,
Lungfish,
Lizzy Mercier Descloux,
Rekid,
Rosa Yemen,
Oppenheimer Analysis,
Cluster,
Yusef Lateef,
Nas,
Aloha Tigers,
CMW,
Colin Newman,
Cal Tjader,
Morten Harket,
Prince Buster,
Organ,
Flash Fearless,
Gil Scott-Heron & Brian Jackson,
K-Klass,
Al Stewart,
Tropical Tobacco,
Jawbox,
Marmalade,
Severed Heads,
Yellowson,
Stockholm Monsters,
Wally Richardson,
Pussy Galore,
Sly & The Family Stone,
Moebius,
The Angels of Light,
Grandmaster Flash and the Furious Five,
Alice Coltrane,
Gabor Szabo,
Camron Feat. Memphis Bleek And Beenie Seigel,
David Axelrod,
Trumans Water,
The Trojans,
La Düsseldorf,
The Jesus and Mary Chain,
Leonard Cohen,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.