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 Ireland and from Lille.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 The Durutti Column 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 Traffic Nightmare. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Black Sheep,
The Invisible,
James White and The Blacks,
The Associates,
Harry Pussy,
David Axelrod,
Model 500,
The Names,
Lower 48,
Fear,
Byron Stingily,
Yusef Lateef,
Bill Near,
Deepchord,
Masters at Work,
Art Ensemble Of Chicago,
Howard Jones,
Rosa Yemen,
LL Cool J,
Adolescents,
Mary Jane Girls,
Surgeon,
the Normal,
Mark Hollis,
Talk Talk,
Idris Muhammad,
The J.B.'s,
Steve Hackett,
Brass Construction,
Depeche Mode,
Von Mondo,
Vaughan Mason & Crew,
DeepChord presents Echospace,
Rahsaan Roland Kirk,
The Busters,
The Seeds,
Spoonie Gee,
Electric Light Orchestra,
Crash Course in Science,
The Techniques,
Brothers Johnson,
Flamin' Groovies,
The Zeros,
Terror Squad Feat. Camron,
Wighnomy Brothers & Robag Wruhme,
Unrelated Segments,
Robert Hood,
Arthur Verocai,
The Slackers,
Sight & Sound,
Rod Modell,
Index,
Lalann,
The Beau Brummels,
Darondo,
Audionom,
Country Teasers,
The West Coast Pop Art Experimental Band,
Faraquet,
Aloha Tigers,
The Remains,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.