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 Saudi Arabia and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1976.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Portland 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Drexciya 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 DNA. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
The Last Poets,
Henry Cow,
Archie Shepp,
Crash Course in Science,
Electric Prunes,
Beasts of Bourbon,
De La Soul & Jungle Brothers,
Animal Collective,
Eric Dolphy,
Be Bop Deluxe,
A Certain Ratio,
Hashim,
Avey Tare's Slasher Flicks,
K-Klass,
Warsaw,
Nirvana,
Judy Mowatt,
Angry Samoans,
John Foxx,
Nils Olav,
Faust,
Los Fastidios,
The Fortunes,
The Vogues,
Gang of Four,
Altered Images,
Shoche,
The Kinks,
Robert Hood,
the Normal,
Smog,
Art Ensemble Of Chicago,
Graham Central Station,
The Velvet Underground,
Basic Channel,
Wire,
Chris Corsano,
Jesper Dahlback,
Juan Atkins,
The Wake,
Monks,
Eyeless In Gaza,
Lonnie Liston Smith,
Nik Kershaw,
Grauzone,
Ajijia Myrayebe,
DJ Style,
June Days,
Patti Smith,
Aloha Tigers,
8 Eyed Spy,
The Victims,
The Dave Clark Five,
Pierre Henry,
The Blues Magoos,
Public Image Ltd.,
Man Parrish,
Camouflage,
kango's stein massive,
Symarip,
Toni Rubio,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.