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 Korea South and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Winnipeg.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Deadbeat to the crunk 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 The Trojans. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Ponytail,
Yusef Lateef,
The Techniques,
Arthur Verocai,
K-Klass,
the Normal,
The New Christs,
Avey Tare,
Bang On A Can,
Connie Case,
Mary Jane Girls,
Technova,
Soft Cell,
Marmalade,
Delta 5,
A Flock of Seagulls,
Basic Channel,
T.S.O.L.,
Glenn Branca,
Man Eating Sloth,
Isaac Hayes,
Royal Trux,
Pylon,
Aloha Tigers,
Public Enemy,
Ultra Naté,
Cameo,
MC5,
Infiniti,
Matthew Bourne,
Lafayette Afro Rock Band,
The Sound,
Brass Construction,
EPMD,
Matthew Halsall,
Bizarre Inc.,
Eurythmics,
Funkadelic,
Notorious BIG live in Amsterdam,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barrington Levy,
Interpol,
Au Pairs,
Fluxion,
U.S. Maple,
Pantaleimon,
Outsiders,
The Star Department,
Roy Ayers Ubiquity,
Shoche,
Nico,
The Durutti Column,
These Immortal Souls,
Sugar Minott,
Moss Icon,
The Birthday Party,
The Angels of Light,
It's A Beautiful Day,
The Divine Comedy,
the Germs,
Graham Central Station,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.