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 Sri Lanka and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
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 1976 at the first Chic practice in a loft in New York.
I was working on the organ 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 The Star Department to the dance 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 Brick. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Black Pus 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 '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Johnny Clarke,
Q and Not U,
The United States of America,
Nas,
Terry Callier,
The Kinks,
Max Romeo,
Oppenheimer Analysis,
Avey Tare,
Super Lover Cee & Casanova Rud,
The Blues Magoos,
Fatback Band,
UT,
Deadbeat,
DJ Style,
Throbbing Gristle,
DJ Sneak,
Chris Corsano,
Black Bananas,
Dorothy Ashby,
D'Angelo,
Rosa Yemen,
John Holt,
Erasure,
Suburban Knight,
Unrelated Segments,
Model 500,
Sun City Girls,
Ultra Naté,
Chris & Cosey,
One Last Wish,
Gil Scott-Heron and Jamie xx,
Smog,
Swell Maps,
Inner City,
Toni Rubio,
The Fall,
Sun Ra Arkestra,
New Age Steppers,
Nik Kershaw,
Rapeman,
The New Christs,
Oblivians,
Popol Vuh,
Slave,
Man Eating Sloth,
Hardrive,
Echospace,
The Buckinghams,
Röyhkä ja Rättö ja Lehtisalo,
Little Man,
The Raincoats,
Harmonia,
Outsiders,
Dead Boys,
Wire,
Scrapy,
JFA,
Ornette Coleman,
Royal Trux,
Eric B and Rakim,
Avey Tare & Kría Brekkan,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.