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 Australia and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1964 to 1976.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Glasgow 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 Marc Romboy vs. Booka Shade to the punk kids.
I played it at the 40 Watt.
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 Donald Byrd. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Whodini,
James Chance & The Contortions,
The Velvet Underground,
Louis and Bebe Barron,
Godley & Creme,
Sandy B,
Little Man,
Monks,
Wasted Youth,
Pagans,
Archie Shepp,
Piero Umiliani,
Crime,
AZ,
Lou Reed & Metallica,
Tom Boy,
These Immortal Souls,
The Gladiators,
Echospace,
Visage,
Ultravox,
Khruangbin,
Gang Green,
Eric B and Rakim,
The Cramps,
Severed Heads,
Brothers Johnson,
Crispian St. Peters,
Donny Hathaway,
Sly & The Family Stone,
Lizzy Mercier Descloux,
Jawbox,
Alison Limerick,
John Coltrane,
Lower 48,
Jandek,
Mo-Dettes,
Todd Terry,
Matthew Halsall,
Toni Rubio,
Kango’s Stein Massive,
Joyce Sims,
The Moleskins,
Sällskapet,
Motorama,
The Index,
Reuben Wilson,
The Techniques,
Ralphi Rosario,
The Shadows of Knight,
Rapeman,
The Leaves,
Camron Feat. Jay Z And Juelz,
Ash Ra Tempel,
Bobby Byrd,
Art Ensemble Of Chicago,
Fluxion,
Soulsonic Force,
The Flesh Eaters,
Black Pus,
the Association,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.