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 Dominican Republic and from Accra.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Madrid 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Jesper Dahlback to the techno kids.
I played it at the Spitz.
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 Country Joe & The Fish. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Young Marble Giants,
Whodini,
Kevin Saunderson,
The Dead C,
The Misunderstood,
The Monks,
Bauhaus,
Drive Like Jehu,
Amon Düül,
Max Romeo,
Sunsets and Hearts,
Lou Reed & Metallica,
Althea and Donna,
Todd Terry,
Marshall Jefferson,
Maleditus Sound,
Dave Gahan,
Aural Exciters,
Kerri Chandler,
The Associates,
Monolake,
The Grass Roots,
Joey Negro,
Fear,
Tomorrow,
Sandy B,
David Bowie,
Heavy D & The Boyz,
Agitation Free,
The Angels of Light,
The Mighty Diamonds,
LL Cool J,
The Birthday Party,
Masters at Work,
Tommy Roe,
Art Ensemble Of Chicago,
Gil Scott Heron,
Hot Snakes,
Curtis Mayfield,
the Fania All-Stars,
Donald Byrd,
Q and Not U,
Little Man,
Marvin Gaye,
Scott Walker,
Pierre Henry,
Pantytec,
Jerry Gold Smith,
Al Stewart,
Schoolly D,
The Black Dice,
Dr. Dre and Snoop Doggy Dog,
Lyres,
Rhythm & Sound,
Aloha Tigers,
Traffic Nightmare,
June of 44,
Aswad,
Pole,
Johnny Clarke,
Stockholm Monsters,
The Victims,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.