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 Finland and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1976.
I'm losing my edge.
To all the kids in New York and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Swell Maps to the electroclash 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 Bootsy Collins. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Kauko Röyhkä ja Narttu,
Ten City,
Major Organ And The Adding Machine,
Gil Scott-Heron and Jamie xx,
Ash Ra Tempel,
Stereo Dub,
Chris Corsano,
Pharaoh Sanders and the Fire Engines,
The Cramps,
The Electric Prunes,
Darondo,
Qualms,
The West Coast Pop Art Experimental Band,
Subhumans,
June of 44,
Japan,
Sparks,
B.T. Express,
Rakim,
Idris Muhammad,
kango's stein massive,
Unrelated Segments,
Letta Mbulu,
Procol Harum,
Pantaleimon,
A Flock of Seagulls,
Minnie Riperton,
Charles Mingus,
Orchestral Manoeuvres in the Dark,
Alice Coltrane,
Sam Rivers,
James White and The Blacks,
Todd Rundgren,
Model 500,
Amazonics,
Avey Tare & Kría Brekkan,
Eric B and Rakim,
Kango’s Stein Massive,
Ronnie Foster,
Siouxsie and the Banshees,
Rufus Thomas,
Section 25,
Ken Boothe,
Sarah Menescal,
Toni Rubio,
ABBA,
Ituana,
The Velvet Underground,
A Certain Ratio,
Thompson Twins,
Aloha Tigers,
Archie Shepp,
Art Ensemble Of Chicago,
Soft Machine,
John Foxx,
Tim Buckley,
Ronan,
The Wake,
Scott Walker + Sunn O))),
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.