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 Zambia and from Spokane.
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 1974.
I'm losing my edge.
To all the kids in Lille and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 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 48th St. Collective to the dance kids.
I played it at the 40 Watt.
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 Eric Dolphy. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Pierre Henry,
Rhythim Is Rhythim,
The Dirtbombs,
Rapeman,
James Chance & The Contortions,
Chris & Cosey,
Crime,
JFA,
The Smiths,
the Association,
The Kinks,
Simply Red,
Infiniti,
Chris Corsano,
Maurizio,
Man Parrish,
Lightning Bolt,
Soul II Soul,
Eric Copeland,
Index,
Nick Fraelich,
Model 500,
Blake Baxter,
David Bowie,
La Düsseldorf,
Ken Boothe,
Barrington Levy,
Tim Buckley,
Larry & the Blue Notes,
Susan Cadogan,
Thinking Fellers Union Local 282,
Orchestral Manoeuvres in the Dark,
Yazoo,
Sun Ra,
D'Angelo,
Camouflage,
Swell Maps,
Eric Dolphy,
Oneida,
Japan,
The Human League,
The Searchers,
Public Image Ltd.,
London Community Gospel Choir,
Con Funk Shun,
Smog,
The Litter,
Scrapy,
The Sonics,
Gerry Rafferty,
Kevin Saunderson,
Derrick May,
T. Rex,
Glambeats Corp.,
The Mummies,
The Residents,
Alice Coltrane,
Roger Hodgson,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.