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 Barbados and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1979.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Bologna 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Television Personalities to the grime kids.
I played it at the Astoria.
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 Barry Ungar. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Bush Tetras,
Kool G Rap & DJ Polo,
X-101,
Al Stewart,
Deakin,
Ten City,
Livin' Joy,
Sister Nancy,
Bootsy's Rubber Band,
Glambeats Corp.,
Public Image Ltd.,
Pole,
Roxy Music,
Basic Channel,
Major Organ And The Adding Machine,
MC5,
The Sound,
Ronan,
The Chocolate Watch Band,
Motorama,
The Kinks,
Drexciya,
Charles Mingus,
Echospace,
Gerry Rafferty,
cv313,
Outsiders,
The Walker Brothers,
Shoche,
Dennis Brown,
Lonnie Liston Smith,
Ronnie Foster,
Can,
Bootsy Collins,
Strawberry Alarm Clock,
Khruangbin,
Dual Sessions,
Louis and Bebe Barron,
Bizarre Inc.,
Eden Ahbez,
The Pop Group,
AZ,
Bad Manners,
Chris & Cosey,
Alice Coltrane,
Terry Callier,
Sight & Sound,
The Angels of Light,
U.S. Maple,
Gian Franco Pienzio,
Ralphi Rosario,
The Dead C,
Banda Bassotti,
Quantec,
June of 44,
Orchestral Manoeuvres in the Dark,
Gang Starr,
Funky Four + One,
Grauzone,
Minutemen, Minutemen, Minutemen, Minutemen.
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.