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 Guatemala and from Portland.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Fort Wilson Riot to the electroclash kids.
I played it at the Roxy.
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 The Shadows of Knight. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every the Fania All-Stars record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Bobby Byrd,
Fluxion,
Radiohead,
Gary Puckett & The Union Gap,
Barrington Levy,
Faust,
Isaac Hayes,
Erasure,
Jawbox,
Amon Düül,
Hoover,
Oblivians,
Nirvana,
The American Breed,
Cabaret Voltaire,
Q and Not U,
Cluster,
Rufus Thomas,
Franke,
Lalo Schifrin,
Johnny Osbourne,
Brothers Johnson,
Rakim,
The Invisible,
The Move,
The Young Rascals,
Mo-Dettes,
Harry Pussy,
Robert Görl,
Gang Green,
Cybotron,
Excepter,
Tomorrow,
Arcadia,
Flipper,
Kayak,
Jacob Miller,
Soft Cell,
Khruangbin,
The Trojans,
Lou Reed & John Cale,
The Dirtbombs,
Eli Mardock,
Quadrant,
Fat Boys,
The Five Americans,
X-101,
The Happenings,
Chris & Cosey,
The Count Five,
Bizarre Inc.,
Aural Exciters,
The Shadows of Knight,
Johnny Clarke,
the Human League,
Sonny Sharrock,
Marmalade,
Negative Approach,
Sun City Girls,
Index,
Essential Logic,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.