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 Gambia and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Cairo and Calgary.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Connie Case to the rap 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 Tommy Roe. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Deutsch Amerikanische Freundschaft,
Kango’s Stein Massive,
Pet Shop Boys,
Nick Fraelich,
Fear,
Newcleus,
Swell Maps,
Rufus Thomas,
The Litter,
LL Cool J,
The Associates,
Andrew Hill,
Public Enemy,
Yazoo,
Soft Machine,
The West Coast Pop Art Experimental Band,
The Toasters,
Basic Channel,
Babytalk,
Saccharine Trust,
One Last Wish,
The Cure,
KRS-One,
Hoover,
Rowland S Howard / Lydia Lunch,
Harmonia,
Matthew Bourne,
James Chance & The Contortions,
Eric Dolphy,
B.T. Express,
Main Source,
Pharaoh Sanders and the Fire Engines,
Ice-T,
the Germs,
Lou Christie,
Cecil Taylor,
Franke,
Lou Reed & Metallica,
The Star Department,
Soul Sonic Force,
Howard Jones,
The Divine Comedy,
The Residents,
Young Marble Giants,
This Heat,
Jacob Miller,
Nation of Ulysses,
These Immortal Souls,
T. Rex,
Icehouse,
Maleditus Sound,
Reuben Wilson,
Wire,
Crash Course in Science,
Kerrie Biddell,
Inner City,
Average White Band,
David Axelrod,
Nick Cave & The Bad Seeds,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.