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 Niger and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Mumbai 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum 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 Cabaret Voltaire to the grime kids.
I played it at Cafe Wha.
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 Fear. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Camouflage,
Chrome,
Eden Ahbez,
Bizarre Inc.,
Cecil Taylor,
Swans,
Liaisons Dangereuses,
Half Japanese,
Gang of Four,
Piero Umiliani,
Reuben Wilson,
Q and Not U,
Aaron Thompson,
Yaz,
The Misunderstood,
UT,
Panda Bear,
Andrew Hill,
The Last Poets,
Gil Scott-Heron and Jamie xx,
The Litter,
Kango’s Stein Massive,
Ajijia Myrayebe,
One Last Wish,
The Peanut Butter Conspiracy,
Alison Limerick,
Vaughan Mason & Crew,
Ohio Players,
Black Flag,
Gichy Dan,
Warren Ellis,
Oneida,
The Fuzztones,
Byron Stingily,
Blossom Toes,
Agent Orange,
Bobby Sherman,
The West Coast Pop Art Experimental Band,
Maleditus Sound,
Brothers Johnson,
London Community Gospel Choir,
Röyhkä ja Rättö ja Lehtisalo,
Inner City,
Jawbox,
Eric B and Rakim,
Angels of Light & Akron/Family,
Sugar Minott,
Section 25,
Larry & the Blue Notes,
Parry Music,
Anakelly,
Rhythim Is Rhythim,
the Germs,
Grauzone,
Althea and Donna,
DNA,
Sonic Youth,
Mantronix,
Flash Fearless,
Soul II Soul,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.