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 Rwanda and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Mexico City and Salvador.
I'm losing my edge to the art-school Shanghai 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 1962 at the first Guess Who practice in a loft in Winnipeg.
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 Pete Rock & C.L. Smooth to the punk kids.
I played it at Cafe Wha.
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 Scientists. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Orchestral Manoeuvres in the Dark,
The Jesus and Mary Chain,
10cc,
Sight & Sound,
the Association,
Sarah Menescal,
Alison Limerick,
Nas,
Soft Cell,
X-101,
Pole,
Grey Daturas,
The Golliwogs,
D'Angelo,
Todd Terry,
Mark Hollis,
Jesper Dahlback,
the Slits,
Absolute Body Control,
Altered Images,
Pete Rock & C.L. Smooth,
Quando Quango,
Echo & the Bunnymen,
Mr. Review,
Barbara Tucker,
Circle Jerks,
Rod Modell,
The United States of America,
Index,
Pere Ubu,
Spoonie Gee,
The Five Americans,
Matthew Halsall,
New Age Steppers,
Public Enemy,
Spandau Ballet,
The Fire Engines,
Yaz,
Dorothy Ashby,
The Slits,
Glambeats Corp.,
The Pretty Things,
Scrapy,
Jimmy McGriff,
Bush Tetras,
The Blues Magoos,
Moebius,
Barry Ungar,
Colin Newman,
The Invisible,
Guru Guru,
The Shadows of Knight,
the Bar-Kays,
Tres Demented,
Black Moon,
Newcleus,
Japan,
Stiv Bators,
Radiopuhelimet,
Gary Puckett & The Union Gap,
Camouflage, Camouflage, Camouflage, Camouflage.
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.