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 Canada and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Glasgow 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Anthony Braxton to the funk kids.
I played it at CBGB's.
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 Aswad. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Man Eating Sloth 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Joey Negro,
Icehouse,
Moss Icon,
The Jesus and Mary Chain,
Nick Cave & The Bad Seeds,
Gregory Isaacs,
the Bar-Kays,
Sister Nancy,
Jandek,
Lalo Schifrin,
Dennis Brown,
Susan Cadogan,
Johnny Clarke,
Kayak,
Fat Boys,
Mad Mike,
The Men They Couldn't Hang,
Patti Smith,
Flash Fearless,
Talk Talk,
The Knickerbockers,
Pete Rock & C.L. Smooth,
B.T. Express,
Marc Almond,
The Offenders,
Surgeon,
Traffic Nightmare,
The Skatalites,
Jimmy McGriff,
Jesper Dahlbäck,
La Düsseldorf,
Country Joe & The Fish,
Andrew Ashong & Theo Parrish,
Subhumans,
Marine Girls,
Radio Birdman,
The Five Americans,
The Searchers,
Tomorrow,
The Dirtbombs,
Heavy D & The Boyz,
Red Lorry Yellow Lorry,
Amazonics,
Jeff Lynne,
Japan,
Robert Görl,
The Young Rascals,
Make Up,
Pierre Henry,
Inner City,
Warsaw,
Juan Atkins,
Parry Music,
Massinfluence,
Audionom,
Don Cherry,
Pantaleimon,
Girls At Our Best!,
Brass Construction,
Mission of Burma,
The Mojo Men,
The Seeds,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.