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 Guinea-Bissau and from Shanghai.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Glasgow 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 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 Isaac Hayes to the disco 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 Electric Light Orchestra. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Carl Craig record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Kerri Chandler,
Grandmaster Flash,
Sam Rivers,
Kevin Saunderson,
Model 500,
Sällskapet,
New York Dolls,
Crime,
Heaven 17,
Popol Vuh,
Man Parrish,
Lalo Schifrin,
K-Klass,
Kool G Rap & DJ Polo,
Young Marble Giants,
Bobby Womack,
Y Pants,
Gabor Szabo,
Dorothy Ashby,
X-102,
The Techniques,
Severed Heads,
Wings,
Eve St. Jones,
Gil Scott Heron,
Chris Corsano,
Franke,
New Order,
Massinfluence,
MDC,
the Slits,
Lower 48,
Kango’s Stein Massive,
Hasil Adkins,
Carl Craig,
Bad Manners,
David Axelrod,
Vaughan Mason & Crew,
Gang of Four,
Pete Rock & C.L. Smooth,
Ronan,
Eric Copeland,
Don Cherry,
Tears for Fears,
Aural Exciters,
Index,
Harmonia,
Charles Mingus,
Quando Quango,
L. Decosne,
CMW,
Alphaville,
Roxy Music,
Selector Dub Narcotic,
Siouxsie and the Banshees,
Grey Daturas,
The Gun Club,
Newcleus,
8 Eyed Spy,
The Birthday Party,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.