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 Fiji and from Stockholm.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Portland 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 arpeggiator 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 New Age Steppers to the jazz kids.
I played it at the Troubador.
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 Swans. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Cybotron record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
Arthur Verocai,
Letta Mbulu,
The Count Five,
Minutemen,
Super Lover Cee & Casanova Rud,
Fat Boys,
Major Organ And The Adding Machine,
Motorama,
The Index,
Matthew Bourne,
Swans,
Mary Jane Girls,
The Toasters,
Man Eating Sloth,
Funkadelic,
Livin' Joy,
Sad Lovers and Giants,
Aural Exciters,
Roger Hodgson,
Spoonie Gee,
Girls At Our Best!,
The Stooges,
The Seeds,
The J.B.'s,
Von Mondo,
Gong,
Intrusion,
Soft Machine,
Index,
The Gun Club,
Scan 7,
Kas Product,
Liaisons Dangereuses,
Jerry Gold Smith,
Funky Four + One,
Bluetip,
The Gladiators,
Grandmaster Flash and the Furious Five,
Freddie Wadling,
Fear,
Gian Franco Pienzio,
The Beau Brummels,
Beasts of Bourbon,
Wire,
Sound Behaviour,
Duran Duran,
The Vogues,
Metal Thangz,
ABBA,
Donny Hathaway,
Warren Ellis,
Tubeway Army,
June of 44,
The West Coast Pop Art Experimental Band,
Angry Samoans,
Qualms,
Mr. Review,
Black Sheep,
Clear Light,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.