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 India and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1964 to 1979.
I'm losing my edge.
To all the kids in Bologna and New York.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Rufus Thomas to the dance kids.
I played it at the Astoria.
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 Ludus. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every Con Funk Shun 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Angry Samoans,
Terrestrial Tones,
48th St. Collective,
Hasil Adkins,
Red Lorry Yellow Lorry,
Man Parrish,
Deutsch Amerikanische Freundschaft,
John Cale,
Grauzone,
The United States of America,
Chris & Cosey,
Bobby Sherman,
Motorama,
Camberwell Now,
The Victims,
Bill Near,
Alice Coltrane,
Patti Smith,
Grandmaster Flash and the Furious Five,
The Names,
The Smoke,
Letta Mbulu,
K-Klass,
Arthur Verocai,
Popol Vuh,
Donald Byrd,
The Star Department,
Au Pairs,
Radio Birdman,
Leonard Cohen,
The Modern Lovers,
Alphaville,
Jacques Brel,
Quadrant,
Tropical Tobacco,
Arab on Radar,
Carl Craig,
Jacob Miller,
New Order,
Neil Young,
Malaria!,
Fugazi,
Bobby Womack,
Arcadia,
The Neon Judgement,
Mars,
MC5,
Frankie Knuckles,
Kayak,
Niagra,
Suicide,
Trumans Water,
Mad Mike,
Ten City,
Mr. Review,
Laurel Aitken,
These Immortal Souls,
Bob Dylan,
The Skatalites,
ABC,
the Fania All-Stars,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.