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 United States and from Mexico City.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Houston and Lagos.
I'm losing my edge to the art-school Philadelphia 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 Throbbing Gristle practice in a loft in London.
I was working on the chamberlin 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 R.M.O. to the jazz kids.
I played it at the Astoria.
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 Matthew Halsall. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
The Names,
Silicon Teens,
Kool G Rap & DJ Polo,
Dark Day,
The Associates,
Röyhkä ja Rättö ja Lehtisalo,
Ludus,
One Last Wish,
Vaughan Mason & Crew,
Saccharine Trust,
Clear Light,
Bill Wells,
Soft Cell,
Bill Near,
Carl Craig,
Vainqueur,
Thinking Fellers Union Local 282,
Johnny Osbourne,
De La Soul & Jungle Brothers,
The Dead C,
Camron Feat. Jay Z And Juelz,
Don Cherry,
Masters at Work,
Alice Coltrane,
Tears for Fears,
Minnie Riperton,
Echo & the Bunnymen,
Scratch Acid,
Morten Harket,
The Golliwogs,
The Vogues,
Liaisons Dangereuses,
Rekid,
Boredoms,
Art Ensemble Of Chicago,
The Sound,
James White and The Blacks,
Chris & Cosey,
The Motions,
Heavy D & The Boyz,
Sugar Minott,
Accadde A,
The Monochrome Set,
Aloha Tigers,
Joy Division,
Popol Vuh,
Tommy Roe,
Scion,
Liliput,
The Wake,
Country Joe & The Fish,
Spandau Ballet,
Arthur Verocai,
Nils Olav,
Rosa Yemen,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ossler,
Mo-Dettes,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.