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 Moldova and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Stockholm 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 organ 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 Bobby Womack to the rock kids.
I played it at CBGB's.
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 L. Decosne. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Pagans record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Rowland S Howard / Lydia Lunch,
a-ha,
Wolf Eyes,
E-Dancer,
Accadde A,
Supertramp,
Pierre Henry,
Chrome,
Moby Grape,
Pulsallama,
Terry Callier,
Cabaret Voltaire,
The Skatalites,
Sunsets and Hearts,
Notorious Big And Bone Thugs,
The Gun Club,
Slick Rick,
Unwound,
Juan Atkins,
Bootsy Collins,
Cecil Taylor,
Tropical Tobacco,
Lungfish,
Gregory Isaacs,
It's A Beautiful Day,
Marvin Gaye,
Stetsasonic,
the Human League,
Can,
Joey Negro,
DNA,
Soft Cell,
Lyres,
Pagans,
Connie Case,
Frankie Knuckles,
The Fall,
The Trojans,
Ultramagnetic MC's,
Lower 48,
Cheater Slicks,
The Blackbyrds,
Siglo XX,
Bobbi Humphrey,
Liaisons Dangereuses,
Sonny Sharrock,
cv313,
The Tremeloes,
Sister Nancy,
Sarah Menescal,
Babytalk,
Johnny Clarke,
Marcia Griffiths,
Monks,
Q and Not U,
X-Ray Spex,
Darondo,
Siouxsie and the Banshees,
The Sonics,
X-102, X-102, X-102, X-102.
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.