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 Marshall Islands and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1971.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
I'm losing my edge to the art-school Toronto 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 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Grandmaster Flash 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 It's A Beautiful Day. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Scion,
Gichy Dan,
Peter & Gordon,
Quadrant,
Warsaw,
Deadbeat,
Henry Cow,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gastr Del Sol,
Thinking Fellers Union Local 282,
Theoretical Girls,
Avey Tare & Kría Brekkan,
Silicon Teens,
Scan 7,
New Order,
Heavy D & The Boyz,
Kool Moe Dee,
Roy Ayers Ubiquity,
Rotary Connection,
Dawn Penn,
The Fuzztones,
Young Marble Giants,
Angels of Light & Akron/Family,
Dave Gahan,
Reuben Wilson,
The Star Department,
Pantaleimon,
DJ Sneak,
Agitation Free,
Mantronix,
Joey Negro,
Jacob Miller,
Robert Görl,
Scott Walker,
Amazonics,
Grey Daturas,
Kings Of Tomorrow,
New Age Steppers,
T.S.O.L.,
Richard Hell and the Voidoids,
Massinfluence,
Duran Duran,
Max Romeo,
Davy DMX,
Kaleidoscope,
Parry Music,
Radiopuhelimet,
Mary Jane Girls,
Jeff Lynne,
Grauzone,
Alice Coltrane,
Heaven 17,
Sarah Menescal,
Grandmaster Flash,
Lightning Bolt,
Louis and Bebe Barron,
Deutsch Amerikanische Freundschaft,
The Fugs,
The Cramps,
New York Dolls,
Röyhkä ja Rättö ja Lehtisalo,
Easy Going, Easy Going, Easy Going, Easy Going.
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.