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 Indonesia and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1962 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Milan 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin 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 Bobby Womack to the electroclash 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 It's A Beautiful Day. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal crunk 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 a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight 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?
Electric Light Orchestra,
Lebanon Hanover,
The Names,
Kool G Rap & DJ Polo,
Radio Birdman,
Arcadia,
AZ,
The Dirtbombs,
Sparks,
Trumans Water,
Black Pus,
Gian Franco Pienzio,
John Cale,
The Beau Brummels,
Drive Like Jehu,
K-Klass,
Marine Girls,
Cecil Taylor,
KRS-One,
D'Angelo,
the Bar-Kays,
New Age Steppers,
Robert Görl,
Jandek,
Funky Four + One,
Byron Stingily,
The Cosmic Jokers,
The Gap Band,
Rapeman,
Faust,
ABC,
The Associates,
Scott Walker,
Marc Romboy vs. Booka Shade,
Barry Ungar,
Fela Kuti,
The Kinks,
Terry Callier,
The Moleskins,
Mo-Dettes,
PIL,
Thompson Twins,
Thee Headcoats,
Pere Ubu,
Rufus Thomas,
Joy Division,
Avey Tare's Slasher Flicks,
Rhythim Is Rhythim,
Talk Talk,
Crooked Eye,
Barclay James Harvest,
MDC,
Colin Newman,
Bang On A Can,
Scratch Acid,
Pharoah Sanders,
cv313,
Scientists,
Louis and Bebe Barron,
Max Romeo,
Gil Scott-Heron & Brian Jackson,
Lalann,
Delta 5,
Parry Music,
The Monks, The Monks, The Monks, The Monks.
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.