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 Afghanistan and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Accra and Glasgow.
I'm losing my edge to the art-school Shanghai 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 chamberlin 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 It's A Beautiful Day to the grime kids.
I played it at the Hacienda.
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 Johnny Osbourne tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Public Image Ltd.,
Notorious BIG live in Amsterdam,
Bill Wells,
Roxette,
Nick Fraelich,
Gian Franco Pienzio,
Lebanon Hanover,
Bang On A Can,
Barbara Tucker,
Depeche Mode,
Chris & Cosey,
Eric B and Rakim,
Warren Ellis,
Glambeats Corp.,
The Searchers,
The Fuzztones,
Alison Limerick,
Lyres,
the Normal,
Girls At Our Best!,
Oppenheimer Analysis,
Magma,
The Pop Group,
Janne Schatter,
H. Thieme,
Black Pus,
Bluetip,
Joe Finger,
Stereo Dub,
Marine Girls,
Joyce Sims,
Moebius,
Cameo,
L. Decosne,
Avey Tare & Kría Brekkan,
The Moleskins,
Jacob Miller,
The Slackers,
Liaisons Dangereuses,
Sam Rivers,
The Standells,
Lucky Dragons,
Youth Brigade,
Popol Vuh,
Y Pants,
Sun Ra Arkestra,
Banda Bassotti,
Dead Boys,
U.S. Maple,
Aswad,
Alton Ellis,
Ten City,
Kool G Rap & DJ Polo,
The Offenders,
Dual Sessions,
Ultra Naté,
F. McDonald,
Kerrie Biddell,
Audionom,
The Last Poets,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.