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 Korea South and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Paris and Manila.
I'm losing my edge to the art-school Glasgow 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 Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 The Dead C to the grime kids.
I played it at the Spitz.
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 CMW. All the underground hits.
All Faraquet 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 disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
Skaos,
Dual Sessions,
The New Christs,
Sonny Sharrock,
Monolake,
Siouxsie and the Banshees,
Deakin,
Gabor Szabo,
Barrington Levy,
Notorious BIG live in Amsterdam,
Slick Rick,
The Black Dice,
E-Dancer,
Lalo Schifrin,
Adolescents,
Girls At Our Best!,
The Raincoats,
Rhythim Is Rhythim,
Pantaleimon,
Ten City,
The Slackers,
Gregory Isaacs,
Electric Light Orchestra,
Interpol,
The Monks,
Scion,
Eric Copeland,
Con Funk Shun,
The West Coast Pop Art Experimental Band,
Stereo Dub,
The Martian,
Minny Pops,
Gang of Four,
Jeff Mills,
The Dirtbombs,
Warsaw,
Jacques Brel,
Camouflage,
X-101,
Tropical Tobacco,
Newcleus,
Deadbeat,
Eddi Front,
The Divine Comedy,
Nik Kershaw,
The Shadows of Knight,
The Red Krayola,
The Young Rascals,
Chris Corsano,
The Seeds,
Ornette Coleman,
the Association,
Average White Band,
Man Eating Sloth,
Ossler,
A Certain Ratio,
Byron Stingily,
Kerrie Biddell,
Goldenarms,
Juan Atkins,
Nation of Ulysses,
Procol Harum,
Cluster,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.