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 Maldives and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Accra 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Flash Fearless to the techno kids.
I played it at the Roxy.
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 Pete Rock & C.L. Smooth. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Babytalk record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Graham Central Station,
Alton Ellis,
Spandau Ballet,
Lalann,
Fugazi,
Theoretical Girls,
10cc,
Hoover,
The Men They Couldn't Hang,
Joyce Sims,
Andrew Hill,
Electric Prunes,
Sarah Menescal,
Roxette,
Brick,
Funky Four + One,
Eric B and Rakim,
Sun Ra,
Howard Jones,
Ornette Coleman,
Das Ding,
The Searchers,
Pantaleimon,
Fat Boys,
Jandek,
Toni Rubio,
Pharoah Sanders,
The Tremeloes,
Rahsaan Roland Kirk,
The Sonics,
Monolake,
The Raincoats,
James White and The Blacks,
Faraquet,
D'Angelo,
Scientists,
Amon Düül II,
Black Pus,
The Index,
Surgeon,
The Divine Comedy,
The Litter,
Rufus Thomas,
Deutsch Amerikanische Freundschaft,
Gary Puckett & The Union Gap,
Crispian St. Peters,
Neil Young & Crazy Horse,
The Moleskins,
Junior Murvin,
Dawn Penn,
Barry Ungar,
Marmalade,
The American Breed,
Gichy Dan,
Notorious BIG live in Amsterdam,
Masters at Work,
The Monochrome Set,
The Cowsills,
Tropical Tobacco,
Thee Headcoats,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.