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 Niger and from Glasgow.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Bremen 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 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 Siglo XX to the grime kids.
I played it at Cafe Wha.
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 The Velvet Underground. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
A Flock of Seagulls,
Urselle,
The Litter,
B.T. Express,
Josef K,
Masters at Work,
Camouflage,
The Pop Group,
the Association,
Sonic Youth,
Thee Headcoats,
Scott Walker,
Ajijia Myrayebe,
Q and Not U,
Ponytail,
X-102,
Eden Ahbez,
Moby Grape,
Eyeless In Gaza,
Quantec,
Livin' Joy,
Deutsch Amerikanische Freundschaft,
Magma,
The Mojo Men,
Sticky Fingaz feat. Raekwon,
Beasts of Bourbon,
F. McDonald,
Ralphi Rosario,
Young Marble Giants,
Boogie Down Productions,
Black Flag,
Rufus Thomas,
Blake Baxter,
Warren Ellis,
Howard Jones,
Banda Bassotti,
Outsiders,
Marc Almond,
Soft Cell,
Kango’s Stein Massive,
Technova,
The Seeds,
Barry Ungar,
Chris Corsano,
Bill Wells,
Judy Mowatt,
Gichy Dan,
Deadbeat,
Nation of Ulysses,
Pete Rock & C.L. Smooth,
Roy Ayers Ubiquity,
Scientists,
Oneida,
EPMD,
The Monochrome Set,
Pantaleimon,
China Crisis,
Schoolly D,
Danielle Patucci,
Faust,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.