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 Tonga and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Lyon 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Average White Band to the grime kids.
I played it at CBGB's.
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 Vainqueur. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Siouxsie and the Banshees,
The Invisible,
Ajijia Myrayebe,
Swell Maps,
Morten Harket,
Tears for Fears,
Lyres,
Selector Dub Narcotic,
Wasted Youth,
Fela Kuti,
The Sonics,
Joyce Sims,
AZ,
Maleditus Sound,
Jacques Brel,
Jawbox,
Ohio Players,
8 Eyed Spy,
Loose Ends,
Quantec,
The Music Machine,
Kool G Rap & DJ Polo,
Thinking Fellers Union Local 282,
Sugar Minott,
Connie Case,
Simply Red,
Nation of Ulysses,
Parry Music,
Howard Jones,
Pharaoh Sanders and the Fire Engines,
Kango’s Stein Massive,
June of 44,
Pierre Henry,
Minor Threat,
Heaven 17,
Banda Bassotti,
Lungfish,
Gary Puckett & The Union Gap,
Grauzone,
Peter and Kerry,
Bauhaus,
X-101,
Gang Gang Dance,
Los Fastidios,
Roxy Music,
48th St. Collective,
U.S. Maple,
The Litter,
Man Eating Sloth,
Eden Ahbez,
The Remains,
Underground Resistance,
Angry Samoans,
The Smiths,
Nick Fraelich,
Rakim,
A Certain Ratio,
H. Thieme,
The Mummies,
Deutsch Amerikanische Freundschaft,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.