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 Kosovo and from Shanghai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Lille 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Half Japanese to the dance kids.
I played it at the Troubador.
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 Joy Division. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
The Electric Prunes,
Loose Ends,
The Grass Roots,
Fatback Band,
Dorothy Ashby,
EPMD,
Stiv Bators,
Kenny Larkin,
Rod Modell,
PIL,
DJ Style,
La Düsseldorf,
Flipper,
Sarah Menescal,
Jacob Miller,
Symarip,
Wire,
Cal Tjader,
Television,
Panda Bear,
Mark Hollis,
The Gap Band,
The Real Kids,
Rekid,
Amazonics,
Spandau Ballet,
The Tremeloes,
Dave Gahan,
Idris Muhammad,
The Fire Engines,
Warsaw,
Oppenheimer Analysis,
Excepter,
Grauzone,
MDC,
Rapeman,
Moby Grape,
Skaos,
Young Marble Giants,
Chris Corsano,
Ossler,
Letta Mbulu,
Flash Fearless,
Alphaville,
the Fania All-Stars,
Jesper Dahlbäck,
Sun Ra,
The Move,
Youth Brigade,
Pagans,
Soulsonic Force,
Fear,
Anthony Braxton,
Radiohead,
Mandrill,
Fad Gadget,
Nas,
David Axelrod,
Shuggie Otis,
Erykah Badu,
Heavy D & The Boyz,
The Techniques, The Techniques, The Techniques, The Techniques.
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.