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 Azerbaijan and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Houston 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 Buzzcocks practice in a loft in Bolton.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Warsaw to the techno 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 Simply Red. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Angry Samoans,
Ash Ra Tempel,
Amon Düül,
Bang On A Can,
Pharoah Sanders,
Joe Smooth,
World's Most,
Aaron Thompson,
The Martian,
CMW,
Leonard Cohen,
Alice Coltrane,
Loose Ends,
R.M.O.,
Nirvana,
Audionom,
Skaos,
Notorious Big And Bone Thugs,
Youth Brigade,
Bobby Hutcherson,
Funky Four + One,
The Golliwogs,
Lou Christie,
The Victims,
Al Stewart,
Neu!,
Gregory Isaacs,
Barclay James Harvest,
Roxette,
The Gap Band,
U.S. Maple,
Quadrant,
Barry Ungar,
8 Eyed Spy,
Half Japanese,
Icehouse,
Bad Manners,
Tres Demented,
Kas Product,
Kango’s Stein Massive,
Eyeless In Gaza,
Funkadelic,
Bronski Beat,
Alison Limerick,
Khruangbin,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Richard Hell and the Voidoids,
Skarface,
Underground Resistance,
June of 44,
Marvin Gaye,
F. McDonald,
Siouxsie and the Banshees,
Bobbi Humphrey,
This Heat,
The Last Poets,
Minutemen,
D'Angelo,
a-ha,
The Slackers,
Drexciya,
Brass Construction,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.