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 Zambia and from Milan.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Hong Kong 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 808 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 Magazine to the rock 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 Jesper Dahlbäck. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Sonny Sharrock,
Slave,
Ludus,
The Gladiators,
Cheater Slicks,
The Selecter,
Lower 48,
Khruangbin,
Andrew Hill,
Lonnie Liston Smith,
Yellowson,
Brass Construction,
Visage,
Public Enemy,
Roxette,
Dead Boys,
Gang Gang Dance,
CMW,
Major Organ And The Adding Machine,
Oneida,
Avey Tare's Slasher Flicks,
Eve St. Jones,
Half Japanese,
Chris & Cosey,
48th St. Collective,
Janne Schatter,
Kayak,
Deutsch Amerikanische Freundschaft,
Livin' Joy,
Notorious BIG live in Amsterdam,
The Gories,
Dr. Dre and Snoop Doggy Dog,
Spandau Ballet,
Radiopuhelimet,
Hasil Adkins,
Kas Product,
Kool G Rap & DJ Polo,
Sällskapet,
In Retrospect,
Franke,
Harpers Bizarre,
Lightning Bolt,
The Music Machine,
Michelle Simonal,
Camberwell Now,
Marvin Gaye,
Eddi Front,
Drexciya,
Bootsy Collins,
John Foxx,
Spoonie Gee,
Arab on Radar,
Manfred Mann's Earth Band,
Technova,
Peter & Gordon,
Girls At Our Best!,
Jimmy McGriff,
Lou Reed & Metallica,
Peter Gordon & Love of Life Orchestra,
Tropical Tobacco,
Flash Fearless,
Gil Scott-Heron & Brian Jackson,
D'Angelo,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.