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 Cameroon and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Robert Görl to the funk kids.
I played it at the Spitz.
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 John Foxx. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Lower 48,
Youth Brigade,
Rapeman,
Qualms,
Franke,
The Dave Clark Five,
Dual Sessions,
The Fuzztones,
This Heat,
Rahsaan Roland Kirk,
Joey Negro,
Big Daddy Kane,
Man Parrish,
Flash Fearless,
The United States of America,
Thompson Twins,
Sällskapet,
Neu!,
Junior Murvin,
Sight & Sound,
London Community Gospel Choir,
Bobby Hutcherson,
Jesper Dahlbäck,
Rowland S Howard / Lydia Lunch,
Ludus,
Grey Daturas,
Orchestral Manoeuvres in the Dark,
Interpol,
Tres Demented,
The Durutti Column,
Aloha Tigers,
Rhythim Is Rhythim,
Sugar Minott,
Bush Tetras,
Y Pants,
the Human League,
The Names,
The Invisible,
Sarah Menescal,
Television Personalities,
Whodini,
Simply Red,
Mary Jane Girls,
Scion,
Maurizio,
Unwound,
Mandrill,
The Offenders,
Jawbox,
Scrapy,
Jimmy McGriff,
The Evens,
Idris Muhammad,
The Associates,
Chrome,
Dennis Brown,
Michelle Simonal,
Con Funk Shun,
The Victims,
Visage,
The Five Americans,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.