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 Estonia and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and Toronto.
I'm losing my edge to the art-school Tehran 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 oboe 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 Freddie Wadling to the grunge 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 The Busters. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Sight & Sound 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
The Music Machine,
Jawbox,
Scion,
Pole,
Rekid,
Alton Ellis,
The Zeros,
Shuggie Otis,
Morten Harket,
Royal Trux,
Tim Buckley,
Infiniti,
John Cale,
Glambeats Corp.,
Spoonie Gee,
D'Angelo,
The Jesus and Mary Chain,
Ultra Naté,
Black Sheep,
Kaleidoscope,
The Evens,
Zapp,
Rhythm & Sound,
Kool G Rap & DJ Polo,
the Swans,
T. Rex,
The Real Kids,
Monks,
Faraquet,
Ludus,
Sandy B,
The Star Department,
Joy Division,
Inner City,
The Monks,
Girls At Our Best!,
Guru Guru,
The Pop Group,
The Velvet Underground,
Tubeway Army,
Andrew Ashong & Theo Parrish,
Wally Richardson,
Mars,
Fluxion,
Amon Düül,
The Blues Magoos,
Derrick May,
Moebius,
Khruangbin,
Pere Ubu,
Model 500,
June of 44,
Mad Mike,
Avey Tare & Kría Brekkan,
Vladislav Delay,
Bobby Hutcherson,
Talk Talk,
Mark Hollis,
Theoretical Girls,
The Seeds,
Sister Nancy,
Tommy Roe,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.