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 Equatorial Guinea and from London.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1972.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Halifax 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the synthesizer 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 Sparks to the crunk kids.
I played it at the Spitz.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Idris Muhammad 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 rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
The West Coast Pop Art Experimental Band,
Peter Gordon & Love of Life Orchestra,
Blake Baxter,
Laurel Aitken,
Sad Lovers and Giants,
Oneida,
The Fortunes,
Gil Scott Heron,
Jacob Miller,
The Mummies,
Johnny Osbourne,
Lalo Schifrin,
Wighnomy Brothers & Robag Wruhme,
Can,
Ronnie Foster,
Lungfish,
Pet Shop Boys,
Skarface,
Slick Rick,
Hot Snakes,
The Gap Band,
Frankie Knuckles,
Saccharine Trust,
a-ha,
Amon Düül,
Tropical Tobacco,
Marshall Jefferson,
Fad Gadget,
Das Ding,
Nick Cave & The Bad Seeds,
Yaz,
Q and Not U,
Kango’s Stein Massive,
Aloha Tigers,
Angels of Light & Akron/Family,
Bluetip,
the Slits,
Dual Sessions,
The United States of America,
Kurtis Blow,
OOIOO,
Infiniti,
Dead Boys,
Visionaries,LMNO, T- Love & Iriscience,
Kauko Röyhkä ja Narttu,
Junior Murvin,
Ajijia Myrayebe,
the Association,
Nas,
Bootsy's Rubber Band,
Joey Negro,
John Foxx,
John Cale,
K-Klass,
Sparks,
Zapp,
Erasure,
Inner City,
Cecil Taylor,
Lower 48, Lower 48, Lower 48, Lower 48.
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.