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 Tunisia and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer 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 Man Parrish to the punk 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 Fad Gadget. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Interpol,
Liaisons Dangereuses,
Gregory Isaacs,
JFA,
Ponytail,
Alton Ellis,
Bill Near,
Gian Franco Pienzio,
The Invisible,
LL Cool J,
Minutemen,
The Fortunes,
Ornette Coleman,
Piero Umiliani,
Alison Limerick,
Lou Reed & John Cale,
Juan Atkins,
Pierre Henry,
Magma,
John Coltrane,
Visionaries,LMNO, T- Love & Iriscience,
Camberwell Now,
Intrusion,
Scan 7,
Jandek,
Pole,
Tim Buckley,
London Community Gospel Choir,
Echospace,
Lizzy Mercier Descloux,
Man Parrish,
Delon & Dalcan,
The Pretty Things,
The Last Poets,
Lucky Dragons,
Jacques Brel,
Johnny Clarke,
E-Dancer,
Model 500,
Whodini,
Traffic Nightmare,
Rhythim Is Rhythim,
Selector Dub Narcotic,
Jawbox,
Ajijia Myrayebe,
David Axelrod,
Crooked Eye,
Sight & Sound,
Boredoms,
Mars,
Scratch Acid,
Terry Callier,
Con Funk Shun,
Zapp,
Dave Gahan,
Unrelated Segments,
Patti Smith,
Todd Terry,
The United States of America,
Brass Construction,
Grey Daturas,
Matthew Bourne,
Desert Stars,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.