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 Pakistan and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1978.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Houston 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Marshall Jefferson to the techno kids.
I played it at Trash.
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 Slackers. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Arab on Radar 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Mantronix,
Average White Band,
Hasil Adkins,
Nas,
Pete Rock & C.L. Smooth,
AZ,
Qualms,
Roy Ayers,
Manfred Mann's Earth Band,
The Dave Clark Five,
Jawbox,
Matthew Bourne,
Kool G Rap & DJ Polo,
Be Bop Deluxe,
Fugazi,
The Gun Club,
Flipper,
Youth Brigade,
Yellowson,
New York Dolls,
Anakelly,
Tubeway Army,
Cheater Slicks,
It's A Beautiful Day,
Eric B and Rakim,
Rosa Yemen,
Monks,
Mars,
DNA,
Con Funk Shun,
The Zeros,
Q and Not U,
The Motions,
Aloha Tigers,
H. Thieme,
Sun Ra Arkestra,
Tres Demented,
Model 500,
Magma,
The Red Krayola,
Roxette,
The Cramps,
Von Mondo,
Pantaleimon,
Avey Tare,
Röyhkä ja Rättö ja Lehtisalo,
Oblivians,
The American Breed,
UT,
Gregory Isaacs,
Kool Moe Dee,
Lungfish,
Rotary Connection,
The Modern Lovers,
Japan,
Deadbeat,
Minor Threat,
Bill Wells,
Buzzcocks,
Rufus Thomas,
Sonic Youth,
KRS-One,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.