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 Mexico and from Paris.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Art Ensemble Of Chicago to the rap 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 Monolake. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Terry Callier,
The Alarm Clocks,
Main Source,
Kerrie Biddell,
John Foxx,
the Germs,
Kevin Saunderson,
Blake Baxter,
Ornette Coleman,
Bobby Sherman,
De La Soul & Jungle Brothers,
Grauzone,
X-102,
The Blackbyrds,
Fela Kuti,
La Düsseldorf,
Wolf Eyes,
Talk Talk,
The Fugs,
Todd Terry,
Infiniti,
Mandrill,
The Residents,
Crispy Ambulance,
Bobby Byrd,
Brick,
Grandmaster Flash and the Furious Five,
K-Klass,
X-101,
Andrew Ashong & Theo Parrish,
a-ha,
The Barracudas,
Amon Düül,
Scientists,
Cluster,
Suicide,
The Searchers,
Dorothy Ashby,
The Young Rascals,
Gil Scott-Heron & Brian Jackson,
Black Flag,
The Litter,
Richard Hell and the Voidoids,
The Selecter,
Man Parrish,
Scrapy,
Shuggie Otis,
Black Sheep,
Bootsy's Rubber Band,
Ajijia Myrayebe,
Hashim,
KRS-One,
Television Personalities,
Aural Exciters,
Joy Division,
Marc Romboy vs. Booka Shade,
Pylon,
Sonny Sharrock,
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.