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 Canada and from Portland.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Johnny Osbourne to the grime kids.
I played it at Trash.
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 Gang Gang Dance. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
The Shadows of Knight,
Swans,
Warren Ellis,
Alton Ellis,
Ice-T,
The Young Rascals,
Reuben Wilson,
Notorious Big And Bone Thugs,
a-ha,
Deutsch Amerikanische Freundschaft,
Angels of Light & Akron/Family,
Moss Icon,
Dorothy Ashby,
China Crisis,
The Searchers,
Sandy B,
Colin Newman,
Letta Mbulu,
Cameo,
Selector Dub Narcotic,
Little Man,
Roger Hodgson,
Stetsasonic,
The Star Department,
Pulsallama,
Japan,
Ohio Players,
Hardrive,
Sly & The Family Stone,
Public Enemy,
Bronski Beat,
Popol Vuh,
Quadrant,
Visage,
The Dave Clark Five,
Oppenheimer Analysis,
Pagans,
Slave,
Kango’s Stein Massive,
Black Bananas,
Main Source,
The Pop Group,
Graham Central Station,
The Fall,
Masters at Work,
Rhythm & Sound,
Model 500,
Danielle Patucci,
E-Dancer,
Wolf Eyes,
The Wake,
Peter & Gordon,
A Certain Ratio,
Major Organ And The Adding Machine,
Derrick May,
Neil Young,
Nico,
Q and Not U,
Arab on Radar,
Crime,
Delon & Dalcan,
Juan Atkins,
Subhumans, Subhumans, Subhumans, Subhumans.
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.