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 Cape Verde and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1973.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 Lewis practice in a loft in Vancouver.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 X-102 to the crunk 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 Sly & The Family Stone. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every The Zeros 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Interpol,
FM Einheit,
Susan Cadogan,
Jerry Gold Smith,
Brass Construction,
Lalo Schifrin,
Sonny Sharrock,
Yellowson,
Derrick May,
Charles Mingus,
Whodini,
The Sound,
Gang Starr,
David Axelrod,
Man Parrish,
Pulsallama,
Panda Bear,
Jandek,
John Cale,
The Martian,
Rapeman,
Gang Green,
The Fire Engines,
Visionaries,LMNO, T- Love & Iriscience,
Orchestral Manoeuvres in the Dark,
Morten Harket,
Massinfluence,
Jimmy McGriff,
Justin Hinds & The Dominoes,
Big Daddy Kane,
Rhythim Is Rhythim,
cv313,
The Cure,
Deakin,
The Remains,
Nas,
The Mighty Diamonds,
Adolescents,
Dark Day,
Outsiders,
Stiv Bators,
Pierre Henry,
Gian Franco Pienzio,
Rekid,
Sound Behaviour,
Parry Music,
The Doors,
New York Dolls,
Subhumans,
ABC,
Grauzone,
The Royal Family And The Poor,
Amon Düül,
Grandmaster Flash and the Furious Five,
Kevin Saunderson,
Skarface,
E-Dancer,
Aural Exciters,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.