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 Lithuania and from Madrid.
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 1963 to 1976.
I'm losing my edge.
To all the kids in London and Copenhagen.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Marshall Jefferson to the disco 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 Aaron Thompson. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Suicide record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Colin Newman,
Joey Negro,
Lizzy Mercier Descloux,
The Busters,
Bluetip,
U.S. Maple,
The Victims,
Siglo XX,
Quantec,
Pet Shop Boys,
Joe Smooth,
Deepchord,
The Toasters,
Todd Terry,
Fatback Band,
Schoolly D,
Model 500,
Marshall Jefferson,
Deutsch Amerikanische Freundschaft,
The Walker Brothers,
Kool Moe Dee,
Yellowson,
Selector Dub Narcotic,
Neu!,
The Electric Prunes,
Eden Ahbez,
David Axelrod,
The Remains,
Barry Ungar,
Au Pairs,
Interpol,
Reuben Wilson,
Scrapy,
World's Most,
The Music Machine,
Danielle Patucci,
Rowland S Howard / Lydia Lunch,
Pagans,
the Fania All-Stars,
Heaven 17,
Gastr Del Sol,
Beasts of Bourbon,
Subhumans,
Anakelly,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Moby Grape,
Television Personalities,
Red Lorry Yellow Lorry,
The Doobie Brothers,
Janne Schatter,
The Fire Engines,
Bobbi Humphrey,
The Move,
Hoover,
Pussy Galore,
Radiopuhelimet,
Wasted Youth,
The Searchers,
Cal Tjader,
The Invisible,
Super Lover Cee & Casanova Rud,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.