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 Seychelles and from Mumbai.
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 1970.
I'm losing my edge.
To all the kids in Toronto and Columbus.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the linndrum 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 Lebanon Hanover to the dance 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 Darondo. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Mark Hollis 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Bootsy's Rubber Band,
Funkadelic,
David Axelrod,
H. Thieme,
Deadbeat,
The Barracudas,
Tim Buckley,
The Monochrome Set,
The Cure,
The Fortunes,
Unwound,
Roy Ayers,
Peter and Kerry,
Tom Boy,
Nirvana,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Massinfluence,
Derrick May,
Neil Young,
Aloha Tigers,
Archie Shepp,
Marine Girls,
Y Pants,
Soulsonic Force,
Hot Snakes,
The Blues Magoos,
David McCallum,
The Real Kids,
Johnny Osbourne,
OOIOO,
Ken Boothe,
Piero Umiliani,
The Alarm Clocks,
Royal Trux,
The Kinks,
Visage,
Bush Tetras,
Pierre Henry,
The Stooges,
John Cale,
Laurel Aitken,
the Association,
Lalo Schifrin,
Qualms,
Marcia Griffiths,
Jerry Gold Smith,
Robert Görl,
Mark Hollis,
Whodini,
Arab on Radar,
Amon Düül,
Lakeside,
Brothers Johnson,
The Evens,
Interpol,
Fat Boys,
Flipper,
Eden Ahbez,
Wings,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.