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 Eritrea and from Winnipeg.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Seoul and Taipei.
I'm losing my edge to the art-school Bremen 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 linndrum 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 Procol Harum to the disco kids.
I played it at the Troubador.
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 Jeff Mills. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft 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?
The Fire Engines,
The Angels of Light,
Leonard Cohen,
Cal Tjader,
New York Dolls,
Funkadelic,
Frankie Knuckles,
The Star Department,
Soft Machine,
Black Moon,
Sonny Sharrock,
The Velvet Underground,
Technova,
Organ,
Erasure,
The Residents,
Jeru the Damaja,
Liaisons Dangereuses,
Deepchord,
Rowland S Howard / Lydia Lunch,
Black Bananas,
FM Einheit,
Morten Harket,
Eden Ahbez,
Gil Scott-Heron and Jamie xx,
Glambeats Corp.,
the Soft Cell,
Motorama,
The Buckinghams,
Essential Logic,
The Walker Brothers,
Aswad,
Arthur Verocai,
Radiohead,
Clear Light,
Scientists,
Scrapy,
Röyhkä ja Rättö ja Lehtisalo,
The Human League,
The Detroit Cobras,
Darondo,
The Blackbyrds,
Monks,
Lucky Dragons,
Joe Smooth,
Gian Franco Pienzio,
R.M.O.,
Nick Fraelich,
Eyeless In Gaza,
The Black Dice,
Subhumans,
Gerry Rafferty,
Fugazi,
Dennis Brown,
Ornette Coleman,
Schoolly D,
Marine Girls,
Tres Demented,
James White and The Blacks,
MC5,
Swans,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.