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 Indonesia and from Winnipeg.
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 1961 to 1976.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Columbus 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 chamberlin 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 Hashim to the dance kids.
I played it at Cafe Wha.
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 Connie Case. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Franke,
The Shadows of Knight,
Godley & Creme,
Echospace,
Crooked Eye,
Goldenarms,
Ronan,
kango's stein massive,
The Cosmic Jokers,
The Walker Brothers,
Pole,
John Foxx,
Magma,
Scrapy,
The Chocolate Watch Band,
DJ Style,
The Fire Engines,
Duran Duran,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Flesh Eaters,
Tears for Fears,
Agent Orange,
Lalo Schifrin,
DNA,
Brass Construction,
a-ha,
Man Parrish,
Pylon,
Rites of Spring,
Judy Mowatt,
Ultravox,
Soft Cell,
Soft Machine,
Ornette Coleman,
Eurythmics,
Delta 5,
Gil Scott Heron,
Bush Tetras,
The Angels of Light,
Cheater Slicks,
Siglo XX,
Qualms,
Lindisfarne,
The Peanut Butter Conspiracy,
Neil Young,
Dorothy Ashby,
The Dave Clark Five,
The Neon Judgement,
Jimmy McGriff,
Shuggie Otis,
Los Fastidios,
The Move,
Susan Cadogan,
Eddi Front,
The Smiths,
The Barracudas,
The Count Five,
Rapeman,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.