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 Georgia and from London.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Beijing 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 marimba sounds with much patience.
I was there when David Bowie 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 Rhythm & Sound to the punk 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 Ultra Naté. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
H. Thieme,
Stereo Dub,
Toni Rubio,
The Five Americans,
Sällskapet,
Nik Kershaw,
Monolake,
The Peanut Butter Conspiracy,
Sun Ra Arkestra,
Interpol,
Sly & The Family Stone,
Rosa Yemen,
Bang on a Can All-Stars,
Faraquet,
Deakin,
Chrome,
Easy Going,
Super Lover Cee & Casanova Rud,
Scott Walker,
The Walker Brothers,
Brothers Johnson,
Mars,
Isaac Hayes,
Minny Pops,
Groovy Waters,
Ronnie Foster,
Wasted Youth,
Eric Copeland,
Panda Bear,
Sight & Sound,
The Beau Brummels,
Jeru the Damaja,
Drexciya,
Flipper,
Jawbox,
Visage,
June Days,
Peter & Gordon,
The Remains,
Ten City,
Minutemen,
X-101,
Minor Threat,
Camouflage,
Fela Kuti,
Neu!,
Deutsch Amerikanische Freundschaft,
Kool G Rap & DJ Polo,
Moby Grape,
Erasure,
Charles Mingus,
The Royal Family And The Poor,
The Mummies,
Country Joe & The Fish,
The Happenings,
Roxy Music,
Young Marble Giants,
Howard Jones,
DJ Sneak,
Vladislav Delay,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.