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 Denmark and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 Chic practice in a loft in New York.
I was working on the theremin 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 It's A Beautiful Day to the dance kids.
I played it at the Crocodile.
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 Aswad. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Johnny Osbourne,
Minny Pops,
Juan Atkins,
Deutsch Amerikanische Freundschaft,
Rapeman,
Sällskapet,
Q and Not U,
Wolf Eyes,
Excepter,
Stiv Bators,
Quando Quango,
Urselle,
Sandy B,
Mark Hollis,
Shuggie Otis,
Byron Stingily,
Sonic Youth,
Suburban Knight,
Ohio Players,
Mission of Burma,
Sun Ra Arkestra,
DJ Style,
The Motions,
Severed Heads,
Charles Mingus,
The Techniques,
Pere Ubu,
Ice-T,
the Association,
The Black Dice,
Desert Stars,
Organ,
Oppenheimer Analysis,
The Gories,
Sister Nancy,
Harpers Bizarre,
Max Romeo,
Dawn Penn,
Babytalk,
Lindisfarne,
Chrome,
Yaz,
Guru Guru,
Swell Maps,
Bill Near,
Roger Hodgson,
Black Moon,
Bad Manners,
Marmalade,
Thee Headcoats,
Rod Modell,
Beasts of Bourbon,
Sex Pistols,
Teenage Jesus and the Jerks,
Los Fastidios,
Toni Rubio,
Basic Channel,
Lungfish,
Andrew Hill,
Youth Brigade,
Althea and Donna,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.