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 Solomon Islands and from London.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Accra.
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 808 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 Ludus to the electroclash kids.
I played it at Cafe Wha.
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 Masters at Work. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Oneida 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 '90s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
The Move,
Super Lover Cee & Casanova Rud,
Harmonia,
Judy Mowatt,
Janne Schatter,
Barclay James Harvest,
Bill Near,
Gary Puckett & The Union Gap,
The Barracudas,
Scratch Acid,
The Busters,
Jeff Lynne,
Whodini,
Grauzone,
Eric B and Rakim,
Yazoo,
Danielle Patucci,
Dorothy Ashby,
Robert Hood,
H. Thieme,
Negative Approach,
Bobby Hutcherson,
Aural Exciters,
Moss Icon,
The Dirtbombs,
Siglo XX,
Jawbox,
Sex Pistols,
Dark Day,
Sixth Finger,
Art Ensemble Of Chicago,
Cabaret Voltaire,
Roxy Music,
Albert Ayler,
Average White Band,
Angels of Light & Akron/Family,
Gang Green,
Kerrie Biddell,
Archie Shepp,
The Associates,
Jeff Mills,
The Sisters of Mercy,
Black Flag,
Soul Sonic Force,
Faraquet,
La Düsseldorf,
Theoretical Girls,
Stetsasonic,
Scott Walker,
AZ,
Scan 7,
Rekid,
Beasts of Bourbon,
Sister Nancy,
Nick Cave & The Bad Seeds,
Sexual Harrassment,
The Peanut Butter Conspiracy,
Scientists,
Reuben Wilson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Moody Blues,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.