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 Latvia and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 The Count Five to the disco kids.
I played it at CBGB's.
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 Clear Light. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Outsiders,
David Axelrod,
The Kinks,
Depeche Mode,
Warren Ellis,
Bobby Womack,
The Young Rascals,
The Zeros,
K-Klass,
The Tremeloes,
The Five Americans,
Tomorrow,
Hoover,
Y Pants,
The Blues Magoos,
Niagra,
Siglo XX,
Barry Ungar,
The Dirtbombs,
Rotary Connection,
New Age Steppers,
Banda Bassotti,
The Doors,
Kenny Larkin,
The Peanut Butter Conspiracy,
Graham Central Station,
Motorama,
Blossom Toes,
Gang Gang Dance,
Electric Prunes,
Delta 5,
Junior Murvin,
Cecil Taylor,
Electric Light Orchestra,
Grandmaster Flash,
Robert Görl,
Pharaoh Sanders and the Fire Engines,
Country Teasers,
Pylon,
The Motions,
Judy Mowatt,
Grauzone,
The Star Department,
London Community Gospel Choir,
In Retrospect,
The Red Krayola,
Morten Harket,
Eric Copeland,
Lightning Bolt,
Yusef Lateef,
Sound Behaviour,
The Golliwogs,
Sister Nancy,
Popol Vuh,
The Standells,
Rufus Thomas,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Minnie Riperton,
David McCallum,
Sparks,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.