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 Tunisia and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Copenhagen and Jakarta.
I'm losing my edge to the art-school Glasgow 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Orchestral Manoeuvres in the Dark to the grime kids.
I played it at Trash.
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 Howard Jones. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal rap 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 a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Tim Buckley,
Girls At Our Best!,
Ronan,
Don Cherry,
DJ Sneak,
Supertramp,
The Zeros,
Slick Rick,
Yusef Lateef,
Intrusion,
Matthew Halsall,
Gabor Szabo,
Essential Logic,
A Certain Ratio,
Zapp,
Gil Scott-Heron & Brian Jackson,
Pet Shop Boys,
Connie Case,
The Gun Club,
Kauko Röyhkä ja Narttu,
The Dead C,
the Swans,
Peter Gordon & Love of Life Orchestra,
Hot Snakes,
The Kinks,
Ohio Players,
Mark Hollis,
Flamin' Groovies,
Altered Images,
Kaleidoscope,
Organ,
Kings Of Tomorrow,
Todd Terry,
Faust,
Sun Ra Arkestra,
Flash Fearless,
Flipper,
Alison Limerick,
E-Dancer,
Cabaret Voltaire,
Fat Boys,
Camron Feat. Jay Z And Juelz,
Soft Cell,
Ajijia Myrayebe,
Au Pairs,
Newcleus,
Louis and Bebe Barron,
Judy Mowatt,
Jacques Brel,
The Cure,
Visionaries,LMNO, T- Love & Iriscience,
Rakim,
The Dave Clark Five,
Stiv Bators,
Quantec,
Animal Collective,
Wighnomy Brothers & Robag Wruhme,
the Normal,
New York Dolls,
The Monks,
Moby Grape,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Basic Channel,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.