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 Zimbabwe and from Taipei.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1974.
I'm losing my edge.
To all the kids in Lagos and Jakarta.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Gil Scott-Heron and Jamie xx to the techno 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 La Düsseldorf. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Scion,
Liliput,
Model 500,
Funkadelic,
Bizarre Inc.,
Isaac Hayes,
Gil Scott-Heron & Brian Jackson,
Delta 5,
Josef K,
Gichy Dan,
The Doors,
Funky Four + One,
F. McDonald,
The Misunderstood,
Glenn Branca,
Marshall Jefferson,
Hoover,
Urselle,
Outsiders,
The Index,
James Chance & The Contortions,
Iggy Pop,
The Divine Comedy,
E-Dancer,
Orchestral Manoeuvres in the Dark,
The Offenders,
Lou Reed,
Glambeats Corp.,
T.S.O.L.,
Accadde A,
Big Daddy Kane,
Arab on Radar,
Motorama,
Khruangbin,
Nico,
Leonard Cohen,
New Order,
Camberwell Now,
The Cure,
The Kinks,
The American Breed,
Jesper Dahlbäck,
The Searchers,
PIL,
The Remains,
Pole,
Mars,
Pagans,
Marmalade,
The West Coast Pop Art Experimental Band,
The Happenings,
Terry Callier,
Toni Rubio,
Country Joe & The Fish,
The Move,
Sun Ra,
Sandy B,
Average White Band,
The Cowsills,
Idris Muhammad,
The Smoke,
Amazonics,
Unrelated Segments,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.