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 Kenya and from Cairo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Lyon 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 Ohio Players to the electroclash kids.
I played it at the Spitz.
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 Sonny Sharrock. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Radiohead 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Ultra Naté,
Hashim,
Dual Sessions,
Maleditus Sound,
Todd Rundgren,
Oblivians,
X-102,
Saccharine Trust,
Alphaville,
The Peanut Butter Conspiracy,
Sarah Menescal,
Schoolly D,
Y Pants,
Henry Cow,
Jerry's Kids,
Glambeats Corp.,
Charles Mingus,
The Cosmic Jokers,
The United States of America,
Avey Tare,
The Names,
Bush Tetras,
Panda Bear,
Sun Ra,
Archie Shepp,
The Knickerbockers,
Bootsy Collins,
Barry Ungar,
Symarip,
Amon Düül,
The Seeds,
John Foxx,
Jeff Lynne,
Angels of Light & Akron/Family,
Bang on a Can All-Stars,
Roy Ayers,
Stetsasonic,
Pagans,
AZ,
Bluetip,
Peter and Kerry,
Lizzy Mercier Descloux,
Black Moon,
Erasure,
Drexciya,
Kevin Saunderson,
Bad Manners,
Robert Hood,
The Misunderstood,
Interpol,
Yazoo,
Fifty Foot Hose,
Spandau Ballet,
Teenage Jesus and the Jerks,
Pet Shop Boys,
Dorothy Ashby,
Terror Squad Feat. Camron,
The Young Rascals,
The Toasters,
Slick Rick,
The Martian,
the Association, the Association, the Association, the Association.
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.