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 Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Bologna and Houston.
I'm losing my edge to the art-school Shanghai 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 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 Scratch Acid to the rap kids.
I played it at the Troubador.
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 Buzzcocks. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
Byron Stingily,
Connie Case,
Peter Gordon & Love of Life Orchestra,
The Barracudas,
Kaleidoscope,
Darondo,
Pete Rock & C.L. Smooth,
The Techniques,
Jesper Dahlbäck,
the Soft Cell,
Subhumans,
June of 44,
Quadrant,
Max Romeo,
Rhythim Is Rhythim,
Skriet,
The Golliwogs,
Alphaville,
Stetsasonic,
The Black Dice,
Magazine,
Dorothy Ashby,
Neu!,
Sarah Menescal,
Fatback Band,
Bill Wells,
X-102,
The Blackbyrds,
Alice Coltrane,
Lee Hazlewood,
Nation of Ulysses,
James White and The Blacks,
Sun Ra Arkestra,
Throbbing Gristle,
Eric Dolphy,
Crash Course in Science,
Brick,
Aaron Thompson,
Suburban Knight,
Quando Quango,
Hot Snakes,
Marvin Gaye,
Hashim,
Deadbeat,
Matthew Bourne,
Delta 5,
The Gun Club,
Man Parrish,
Ossler,
The Motions,
K-Klass,
Bobby Womack,
Echospace,
Joyce Sims,
The American Breed,
Robert Görl,
Isaac Hayes,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.