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 Seychelles and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Halifax and Calgary.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Wire to the grime kids.
I played it at the Crocodile.
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 FM Einheit. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Mantronix,
Grandmaster Flash,
Rufus Thomas,
The Fire Engines,
Bang On A Can,
Ultra Naté,
The Men They Couldn't Hang,
Unwound,
Lakeside,
These Immortal Souls,
Rosa Yemen,
Electric Light Orchestra,
The Vogues,
Ituana,
the Normal,
Brothers Johnson,
The Dead C,
Gil Scott Heron,
Make Up,
The Star Department,
Maurizio,
Nation of Ulysses,
Dead Boys,
The Smoke,
The Zeros,
The Leaves,
Excepter,
The Gun Club,
Siglo XX,
The Knickerbockers,
Inner City,
Anakelly,
Lightning Bolt,
Major Organ And The Adding Machine,
Ultimate Spinach,
Lalo Schifrin,
Shuggie Otis,
D'Angelo,
Lalann,
Arthur Verocai,
Sarah Menescal,
Piero Umiliani,
Scion,
Kenny Larkin,
Reuben Wilson,
Fat Boys,
Stockholm Monsters,
Radio Birdman,
London Community Gospel Choir,
Archie Shepp,
B.T. Express,
Joey Negro,
Quando Quango,
Kango’s Stein Massive,
Flash Fearless,
Cameo,
Nas,
The Blues Magoos,
Country Joe & The Fish,
Basic Channel,
The Barracudas,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.