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 Iceland and from New York.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
I'm losing my edge to the art-school Mumbai 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 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 The Pretty Things to the jazz 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 Robert Görl. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Blancmange 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Joe Finger,
Electric Prunes,
Deepchord,
E-Dancer,
These Immortal Souls,
Pete Rock & C.L. Smooth,
James Chance & The Contortions,
Eden Ahbez,
Vaughan Mason & Crew,
Television Personalities,
Red Lorry Yellow Lorry,
Pharoah Sanders,
The Associates,
Scratch Acid,
Goldenarms,
Ajijia Myrayebe,
Fat Boys,
Maleditus Sound,
Circle Jerks,
Urselle,
Kango’s Stein Massive,
Neil Young & Crazy Horse,
Deadbeat,
The Real Kids,
Stockholm Monsters,
Be Bop Deluxe,
Ralphi Rosario,
Deutsch Amerikanische Freundschaft,
Marc Almond,
The Five Americans,
The Victims,
Reagan Youth,
Audionom,
Public Image Ltd.,
Curtis Mayfield,
The Remains,
Kenny Larkin,
Moss Icon,
The Men They Couldn't Hang,
T.S.O.L.,
Ornette Coleman,
Johnny Osbourne,
The Misunderstood,
Sister Nancy,
Bill Wells,
Kings Of Tomorrow,
Alison Limerick,
Davy DMX,
Slick Rick,
Andrew Ashong & Theo Parrish,
Sight & Sound,
The Techniques,
the Normal,
Gil Scott Heron,
The Golliwogs,
Massinfluence,
Shoche,
Cal Tjader,
Fluxion,
Visionaries,LMNO, T- Love & Iriscience,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.