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 Guatemala and from Philadelphia.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Columbus and Shanghai.
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 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 Derrick May to the rock kids.
I played it at the Roxy.
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 Alton Ellis. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Flash Fearless 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Loose Ends,
The Neon Judgement,
Flipper,
Sex Pistols,
Connie Case,
Khruangbin,
Jeff Mills,
Dennis Brown,
X-102,
Grandmaster Flash,
Boogie Down Productions,
Organ,
EPMD,
the Association,
Soul Sonic Force,
Skriet,
Alton Ellis,
Sixth Finger,
Ornette Coleman,
Saccharine Trust,
The Sound,
Quando Quango,
Motorama,
The Fall,
Erasure,
Soulsonic Force,
Newcleus,
The Flesh Eaters,
Oblivians,
Sister Nancy,
The Grass Roots,
Bang On A Can,
Desert Stars,
Severed Heads,
Trumans Water,
The Trojans,
Robert Hood,
Ash Ra Tempel,
Neil Young,
The American Breed,
Lou Reed & John Cale,
Lafayette Afro Rock Band,
The Angels of Light,
Richard Hell and the Voidoids,
Pulsallama,
Lungfish,
Joe Finger,
Donny Hathaway,
The Electric Prunes,
The Zeros,
The Kinks,
Tomorrow,
Bobby Sherman,
Subhumans,
Dual Sessions,
Circle Jerks,
Peter & Gordon,
10cc,
Vaughan Mason & Crew,
Pet Shop Boys,
Livin' Joy,
Hashim,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.