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 Malta and from Calgary.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1960 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Pharaoh Sanders and the Fire Engines to the jazz kids.
I played it at the Hacienda.
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 Fire Engines. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Donny Hathaway record on German import.
I heard that you have a white label of every seminal rock 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 a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Amon Düül II,
Marshall Jefferson,
the Swans,
Johnny Osbourne,
The Stooges,
Tres Demented,
Laurel Aitken,
Piero Umiliani,
Glenn Branca,
Pagans,
Man Parrish,
Fear,
Nation of Ulysses,
Sonic Youth,
Scan 7,
The Durutti Column,
T.S.O.L.,
Pierre Henry,
Mr. Review,
Radiohead,
The Busters,
Suicide,
James White and The Blacks,
Roy Ayers Ubiquity,
Sun Ra,
Groovy Waters,
Roxette,
Visionaries,LMNO, T- Love & Iriscience,
Motorama,
Agent Orange,
Siouxsie and the Banshees,
Lebanon Hanover,
Todd Rundgren,
Roy Ayers,
La Düsseldorf,
Sad Lovers and Giants,
Archie Shepp,
Masters at Work,
Public Enemy,
Ossler,
Terry Callier,
Soft Machine,
Eurythmics,
Scott Walker,
The Pretty Things,
Parry Music,
The Standells,
Pharoah Sanders,
Japan,
Rod Modell,
a-ha,
Flamin' Groovies,
Basic Channel,
The Move,
The Velvet Underground,
Mark Hollis,
Delon & Dalcan,
Fort Wilson Riot,
the Sonics,
Freddie Wadling,
Vaughan Mason & Crew,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.