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 Estonia and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Tommy Roe to the dance 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 Frankie Knuckles. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Cecil Taylor,
Spoonie Gee,
Peter & Gordon,
The J.B.'s,
Peter and Kerry,
Connie Case,
Don Cherry,
Kurtis Blow,
Main Source,
Heavy D & The Boyz,
Brand Nubian,
Underground Resistance,
Los Fastidios,
Kauko Röyhkä ja Narttu,
Public Image Ltd.,
Hot Snakes,
Camouflage,
Second Layer,
The Vogues,
Larry & the Blue Notes,
Loose Ends,
Alison Limerick,
Judy Mowatt,
The Litter,
Bronski Beat,
Kings Of Tomorrow,
Flipper,
The Pop Group,
Hardrive,
Joe Smooth,
Gichy Dan,
Robert Hood,
Ponytail,
Davy DMX,
Basic Channel,
Ash Ra Tempel,
kango's stein massive,
Skarface,
Q and Not U,
Vladislav Delay,
The Gap Band,
Kaleidoscope,
Masters at Work,
CMW,
Pet Shop Boys,
48th St. Collective,
The Chocolate Watch Band,
Notorious Big And Bone Thugs,
Grauzone,
Liliput,
The Human League,
Flash Fearless,
MC5,
Swans,
Lou Reed & Metallica,
Soft Machine,
Gang Green,
Panda Bear,
Outsiders,
Ralphi Rosario,
Index, Index, Index, Index.
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.