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 Guatemala and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Paris and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Lucky Dragons to the techno 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 Urselle. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Man Eating Sloth 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 '70s 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 Alton Ellis record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
The Alarm Clocks,
Fat Boys,
Qualms,
Amon Düül II,
Black Pus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Colin Newman,
Flipper,
Eden Ahbez,
Spandau Ballet,
Siglo XX,
Charles Mingus,
Ituana,
Fort Wilson Riot,
Surgeon,
Manfred Mann's Earth Band,
Boz Scaggs,
New York Dolls,
Jeff Lynne,
Stockholm Monsters,
Vainqueur,
The Moleskins,
Kerri Chandler,
Brand Nubian,
Kango’s Stein Massive,
Erasure,
Lou Reed & Metallica,
Wally Richardson,
Sun Ra Arkestra,
Motorama,
Von Mondo,
Parry Music,
Masters at Work,
The Zeros,
Q and Not U,
The Smoke,
Wighnomy Brothers & Robag Wruhme,
Half Japanese,
Bobbi Humphrey,
The Beau Brummels,
Tropical Tobacco,
Scion,
The Doobie Brothers,
Bobby Sherman,
John Coltrane,
Cluster,
Max Romeo,
Khruangbin,
Eve St. Jones,
Lalann,
Todd Terry,
Lower 48,
Rakim,
Joyce Sims,
The Sonics,
Eurythmics,
Kurtis Blow,
Sixth Finger,
X-101, X-101, X-101, X-101.
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.