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 Djibouti and from New York.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Al Stewart to the punk kids.
I played it at the Roxy.
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 Louis and Bebe Barron. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
The Mojo Men,
The Velvet Underground,
Minnie Riperton,
The Residents,
Lightning Bolt,
Hot Snakes,
Depeche Mode,
Letta Mbulu,
Quantec,
Zapp,
Inner City,
Donny Hathaway,
Deutsch Amerikanische Freundschaft,
Radio Birdman,
Public Enemy,
New Order,
Laurel Aitken,
Young Marble Giants,
Massinfluence,
Spandau Ballet,
Todd Terry,
John Holt,
Unwound,
One Last Wish,
The Moleskins,
Ice-T,
Wighnomy Brothers & Robag Wruhme,
Los Fastidios,
Frankie Knuckles,
Henry Cow,
The Vogues,
Teenage Jesus and the Jerks,
Gary Puckett & The Union Gap,
Drexciya,
Lalann,
The Black Dice,
the Normal,
Roxy Music,
The Invisible,
Camron Feat. Memphis Bleek And Beenie Seigel,
World's Most,
Sixth Finger,
The Index,
Roy Ayers,
Malaria!,
Ajijia Myrayebe,
Oneida,
Larry & the Blue Notes,
The J.B.'s,
X-102,
Index,
Wasted Youth,
Silicon Teens,
Interpol,
The Dirtbombs,
Traffic Nightmare,
Crash Course in Science,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.