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 Sierra Leone and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Cairo 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 1973 at the first Television practice in a loft in New York.
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 Dorothy Ashby to the grime kids.
I played it at the Hacienda.
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 Thinking Fellers Union Local 282. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Joe Finger 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
John Foxx,
Stockholm Monsters,
The Evens,
Gil Scott-Heron and Jamie xx,
Bobbi Humphrey,
T. Rex,
The American Breed,
Groovy Waters,
Dark Day,
Piero Umiliani,
Sarah Menescal,
Lucky Dragons,
Soft Machine,
Khruangbin,
the Sonics,
Rhythm & Sound,
The Red Krayola,
The Mummies,
Hoover,
Agitation Free,
Scion,
Pharaoh Sanders and the Fire Engines,
Althea and Donna,
The Saints,
F. McDonald,
Bizarre Inc.,
Crooked Eye,
Trumans Water,
Rotary Connection,
It's A Beautiful Day,
Organ,
Boz Scaggs,
The Monks,
Carl Craig,
The Gladiators,
Sparks,
Ultra Naté,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lakeside,
Cymande,
Sun Ra Arkestra,
Bauhaus,
Man Parrish,
R.M.O.,
Lou Reed & Metallica,
Crash Course in Science,
Erykah Badu,
The Blues Magoos,
Jeff Lynne,
Jandek,
Röyhkä ja Rättö ja Lehtisalo,
Glenn Branca,
Strawberry Alarm Clock,
The Move,
New York Dolls,
Derrick May,
Maurizio,
A Flock of Seagulls,
The Doors,
Teenage Jesus and the Jerks,
Pylon,
CMW,
Smog, Smog, Smog, Smog.
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.