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 Montenegro and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school Beijing 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Ornette Coleman to the rock kids.
I played it at the Crocodile.
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 Cal Tjader. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
U.S. Maple,
Throbbing Gristle,
Tubeway Army,
Drexciya,
The Moleskins,
The Monochrome Set,
Matthew Halsall,
Flash Fearless,
Godley & Creme,
Brothers Johnson,
Black Bananas,
Schoolly D,
Crispian St. Peters,
New Order,
Rahsaan Roland Kirk,
Vaughan Mason & Crew,
Saccharine Trust,
Terror Squad Feat. Camron,
Sly & The Family Stone,
EPMD,
Moss Icon,
The Evens,
Lalo Schifrin,
Alphaville,
Red Lorry Yellow Lorry,
Urselle,
John Cale,
New Age Steppers,
Y Pants,
Ultra Naté,
LL Cool J,
The Shadows of Knight,
Grey Daturas,
Swans,
Black Flag,
Ponytail,
Mars,
Boredoms,
kango's stein massive,
The Pretty Things,
Heaven 17,
Josef K,
Ludus,
London Community Gospel Choir,
Cabaret Voltaire,
Make Up,
Q and Not U,
Marc Romboy vs. Booka Shade,
Dual Sessions,
Shoche,
June of 44,
Bobby Sherman,
Scott Walker,
Desert Stars,
Yazoo,
The Mighty Diamonds,
48th St. Collective,
Agent Orange,
Rhythim Is Rhythim,
Erykah Badu,
The Modern Lovers,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.