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 Austria and from Accra.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Edmonton 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Lonnie Liston Smith to the grunge 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 The Angels of Light. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every The Happenings 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Pharoah Sanders,
Rosa Yemen,
Half Japanese,
Gerry Rafferty,
Jesper Dahlbäck,
The Raincoats,
Parry Music,
Michelle Simonal,
Depeche Mode,
The Leaves,
Donald Byrd,
Man Parrish,
Lonnie Liston Smith,
The Birthday Party,
Letta Mbulu,
Howard Jones,
Barbara Tucker,
H. Thieme,
Cabaret Voltaire,
cv313,
Louis and Bebe Barron,
Mantronix,
Black Flag,
Bob Dylan,
Maleditus Sound,
Pharaoh Sanders and the Fire Engines,
Country Teasers,
Kango’s Stein Massive,
Bobby Sherman,
The Velvet Underground,
Joe Finger,
Rites of Spring,
AZ,
Roxette,
The Doors,
Alison Limerick,
Peter & Gordon,
Sugar Minott,
Jeff Mills,
Warren Ellis,
Marc Romboy vs. Booka Shade,
Franke,
The Fortunes,
Gian Franco Pienzio,
Scan 7,
Moby Grape,
Lebanon Hanover,
Infiniti,
Dorothy Ashby,
Cheater Slicks,
David Bowie,
Gil Scott-Heron and Jamie xx,
A Certain Ratio,
Pylon,
Black Bananas,
the Germs,
The Moleskins,
Cymande,
Sam Rivers,
Flash Fearless,
Alice Coltrane,
Lalann, Lalann, Lalann, Lalann.
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.