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 Argentina and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Madrid and Taipei.
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 Zapp practice in a loft in Hamilton.
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 Masters at Work to the disco 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 cv313. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
A Flock of Seagulls,
Q and Not U,
Harpers Bizarre,
Rowland S Howard / Lydia Lunch,
Sam Rivers,
the Bar-Kays,
Slick Rick,
Barclay James Harvest,
The Kinks,
The United States of America,
Fort Wilson Riot,
Scientists,
Joe Smooth,
Ossler,
Monks,
Sex Pistols,
Super Lover Cee & Casanova Rud,
Bill Near,
Skaos,
Accadde A,
Young Marble Giants,
Sticky Fingaz feat. Raekwon,
Larry & the Blue Notes,
The Mojo Men,
Kango’s Stein Massive,
FM Einheit,
Curtis Mayfield,
Eli Mardock,
Basic Channel,
Ken Boothe,
Can,
Tomorrow,
Marc Romboy vs. Booka Shade,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rites of Spring,
The Smiths,
Avey Tare & Kría Brekkan,
Kevin Saunderson,
Mary Jane Girls,
Crispy Ambulance,
EPMD,
Bobbi Humphrey,
Sexual Harrassment,
Andrew Hill,
Echospace,
The Electric Prunes,
Harmonia,
Mark Hollis,
Ronnie Foster,
The Leaves,
Pylon,
Jacques Brel,
Michelle Simonal,
Flipper,
Alice Coltrane,
CMW,
Minor Threat,
The Men They Couldn't Hang,
Todd Rundgren,
Dennis Brown,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.