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 Kuwait and from Winnipeg.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Vladislav Delay to the grime kids.
I played it at Trash.
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 David Axelrod. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Michelle Simonal,
The Sisters of Mercy,
Liliput,
Theoretical Girls,
The Residents,
Wasted Youth,
Mars,
The Invisible,
Blossom Toes,
The Barracudas,
Lizzy Mercier Descloux,
Stockholm Monsters,
Kaleidoscope,
Spandau Ballet,
The Divine Comedy,
Fat Boys,
Curtis Mayfield,
Gong,
Robert Görl,
AZ,
Boredoms,
Ajijia Myrayebe,
Scratch Acid,
Wighnomy Brothers & Robag Wruhme,
Scientists,
Rosa Yemen,
Make Up,
Johnny Osbourne,
Model 500,
Godley & Creme,
Maurizio,
Negative Approach,
Schoolly D,
Tommy Roe,
Skarface,
Bobbi Humphrey,
a-ha,
Thinking Fellers Union Local 282,
EPMD,
James Chance & The Contortions,
Cal Tjader,
Eddi Front,
Harry Pussy,
Gregory Isaacs,
H. Thieme,
Television Personalities,
The Chocolate Watch Band,
The New Christs,
Electric Prunes,
E-Dancer,
James White and The Blacks,
Leonard Cohen,
KRS-One,
Pole,
Johnny Clarke,
The Pretty Things,
Darondo,
Frankie Knuckles,
the Association,
De La Soul & Jungle Brothers,
Jawbox,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.