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 Armenia and from Mexico City.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Madrid 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the organ 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 The Slackers to the disco 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 Rosa Yemen. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Sugar Minott,
The Peanut Butter Conspiracy,
The Fall,
Crooked Eye,
Buzzcocks,
FM Einheit,
K-Klass,
The Moody Blues,
Yaz,
David Axelrod,
Dark Day,
Jeff Lynne,
Whodini,
Arab on Radar,
Eddi Front,
Barbara Tucker,
Kurtis Blow,
Stereo Dub,
The Young Rascals,
Jerry's Kids,
Deutsch Amerikanische Freundschaft,
10cc,
Lyres,
Ornette Coleman,
Louis and Bebe Barron,
Crash Course in Science,
Babytalk,
La Düsseldorf,
The Mummies,
Gabor Szabo,
The Chocolate Watch Band,
DJ Style,
The Happenings,
The Star Department,
the Germs,
Rhythm & Sound,
Minor Threat,
Sex Pistols,
L. Decosne,
Freddie Wadling,
The Monks,
Janne Schatter,
Thee Headcoats,
Rod Modell,
Ituana,
Lightning Bolt,
The New Christs,
Cecil Taylor,
Smog,
Roxette,
Gary Puckett & The Union Gap,
Procol Harum,
Minutemen,
Gregory Isaacs,
the Sonics,
Sister Nancy,
The Five Americans,
Monolake,
Ultravox, Ultravox, Ultravox, Ultravox.
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.