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 Israel and from Halifax.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Q and Not U to the electroclash kids.
I played it at the Astoria.
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 Sugar Minott. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every The Sonics 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 '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Cosmic Jokers record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
the Soft Cell,
Ice-T,
Frankie Knuckles,
The Knickerbockers,
Be Bop Deluxe,
Gang Green,
The Raincoats,
Mark Hollis,
World's Most,
The Young Rascals,
Gichy Dan,
The Residents,
Lebanon Hanover,
June Days,
Niagra,
The Pop Group,
Marc Almond,
Röyhkä ja Rättö ja Lehtisalo,
Bang On A Can,
Black Pus,
The Index,
Second Layer,
Magma,
Kango’s Stein Massive,
Jerry Gold Smith,
Thinking Fellers Union Local 282,
Oneida,
Khruangbin,
Stetsasonic,
Beasts of Bourbon,
Joyce Sims,
Jeru the Damaja,
Delon & Dalcan,
Deepchord,
The Slits,
Siglo XX,
The Cramps,
Michelle Simonal,
Minor Threat,
Marvin Gaye,
The Men They Couldn't Hang,
Lucky Dragons,
Eurythmics,
Groovy Waters,
Hot Snakes,
Bronski Beat,
Isaac Hayes,
Funky Four + One,
Gerry Rafferty,
Gang of Four,
Dead Boys,
Susan Cadogan,
Deadbeat,
Monks,
The Kinks,
Danielle Patucci,
Fluxion,
Crispian St. Peters,
John Holt,
Gregory Isaacs,
Flash Fearless,
The Techniques,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.