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 Iceland and from Hong Kong.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Lille.
I'm losing my edge to the art-school Manchester 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 1973 at the first Television practice in a loft in New York.
I was working on the snare 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 Jacques Brel to the rap kids.
I played it at the Troubador.
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 Jeff Mills. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal punk 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 a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu 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?
Aaron Thompson,
Rahsaan Roland Kirk,
Notorious Big And Bone Thugs,
Fear,
Tomorrow,
The Fortunes,
Yellowson,
Tommy Roe,
Ten City,
Carl Craig,
Quantec,
Kerrie Biddell,
The Searchers,
Brass Construction,
Frankie Knuckles,
Chrome,
Heaven 17,
Cabaret Voltaire,
The J.B.'s,
Niagra,
Ralphi Rosario,
The Last Poets,
Dawn Penn,
ABC,
Zapp,
the Soft Cell,
Joe Smooth,
Metal Thangz,
Pharaoh Sanders and the Fire Engines,
Black Flag,
Los Fastidios,
Gregory Isaacs,
The Black Dice,
The Knickerbockers,
Judy Mowatt,
The Moody Blues,
The Wake,
Second Layer,
Grandmaster Flash,
The Doors,
Michelle Simonal,
Beasts of Bourbon,
Lungfish,
The New Christs,
Pere Ubu,
Monolake,
Pagans,
Donny Hathaway,
Aural Exciters,
The Moleskins,
The Star Department,
Crime,
Joensuu 1685,
Sight & Sound,
Gang Gang Dance,
The Stooges,
the Sonics,
Inner City,
Graham Central Station,
Ash Ra Tempel,
Nils Olav,
Slave,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.