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 Senegal and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lagos and Philadelphia.
I'm losing my edge to the art-school Lille 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 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 Grandmaster Flash to the grunge 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 Hardrive. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Leonard Cohen,
Brand Nubian,
Quadrant,
Ornette Coleman,
Big Daddy Kane,
Echo & the Bunnymen,
Easy Going,
New Order,
Visage,
The Blackbyrds,
The Sound,
Alton Ellis,
Adolescents,
The Toasters,
Sandy B,
Japan,
Minutemen,
Super Lover Cee & Casanova Rud,
Neil Young,
the Germs,
Traffic Nightmare,
Dark Day,
Rotary Connection,
Interpol,
Gerry Rafferty,
Gabor Szabo,
Spandau Ballet,
Echospace,
John Holt,
Bang on a Can All-Stars,
Yazoo,
Clear Light,
Little Man,
Tomorrow,
MC5,
MDC,
Radiopuhelimet,
Agitation Free,
Babytalk,
ABBA,
Model 500,
Suicide,
Sound Behaviour,
The Durutti Column,
The Pretty Things,
Minnie Riperton,
Pantytec,
Susan Cadogan,
Johnny Osbourne,
Lalann,
Panda Bear,
Tom Boy,
F. McDonald,
Eden Ahbez,
One Last Wish,
Reuben Wilson,
Eric Copeland,
The Monks,
It's A Beautiful Day,
Mo-Dettes,
Quando Quango,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.