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 Angola and from Mexico City.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum 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 Cecil Taylor to the grime kids.
I played it at the Hacienda.
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 La Düsseldorf. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Organ 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 '80s.
I hear you're buying a harpsichord and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson 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?
Marc Almond,
Johnny Osbourne,
Barrington Levy,
Bob Dylan,
Larry & the Blue Notes,
Siouxsie and the Banshees,
Livin' Joy,
Rhythim Is Rhythim,
Skriet,
Gian Franco Pienzio,
Y Pants,
The Men They Couldn't Hang,
Index,
Al Stewart,
Blancmange,
Suicide,
The Techniques,
10cc,
Kerri Chandler,
Television,
The Sonics,
The American Breed,
Soul II Soul,
Ponytail,
Lakeside,
Eurythmics,
Q65,
Mantronix,
Scrapy,
Crispy Ambulance,
Radiohead,
Ultravox,
Sparks,
Altered Images,
The Evens,
Donny Hathaway,
Dark Day,
Lucky Dragons,
Dual Sessions,
Alton Ellis,
Dead Boys,
Marine Girls,
Danielle Patucci,
Warren Ellis,
Cecil Taylor,
Blossom Toes,
Tubeway Army,
Selector Dub Narcotic,
The Flesh Eaters,
Rufus Thomas,
Minny Pops,
Echo & the Bunnymen,
Simply Red,
Girls At Our Best!,
The Standells,
the Bar-Kays,
Gang of Four,
Gong,
Bootsy's Rubber Band,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.