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 St Lucia and from Mexico City.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Lagos.
I'm losing my edge to the art-school Lille 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 The Motions to the rap 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 Tubeway Army. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vladislav Delay,
Bootsy Collins,
Von Mondo,
The Black Dice,
Man Parrish,
Quantec,
Cymande,
Barclay James Harvest,
Dorothy Ashby,
Orchestral Manoeuvres in the Dark,
The Knickerbockers,
T.S.O.L.,
John Holt,
Jesper Dahlback,
Camron Feat. Memphis Bleek And Beenie Seigel,
Excepter,
Nation of Ulysses,
Bizarre Inc.,
Hashim,
The Fuzztones,
The Men They Couldn't Hang,
The Cosmic Jokers,
De La Soul & Jungle Brothers,
Kevin Saunderson,
Susan Cadogan,
Röyhkä ja Rättö ja Lehtisalo,
Popol Vuh,
Boredoms,
The Royal Family And The Poor,
the Human League,
Parry Music,
The Fall,
Erasure,
Man Eating Sloth,
Negative Approach,
Gang of Four,
Dennis Brown,
The Blues Magoos,
Wire,
Strawberry Alarm Clock,
Henry Cow,
Fluxion,
Schoolly D,
Outsiders,
The Detroit Cobras,
Liliput,
Anthony Braxton,
Terror Squad Feat. Camron,
Althea and Donna,
DNA,
cv313,
Half Japanese,
Ash Ra Tempel,
Bang on a Can All-Stars,
U.S. Maple,
The Neon Judgement,
the Soft Cell,
Eden Ahbez,
Warsaw,
Derrick Morgan,
Public Image Ltd.,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.