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 Monaco and from Sao Paulo.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1961 to 1974.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Milan 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 marimba 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 Major Organ And The Adding Machine to the techno 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 The Associates. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Tim Buckley record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Ultravox,
Lebanon Hanover,
Underground Resistance,
Nirvana,
Al Stewart,
David Bowie,
DNA,
Cybotron,
The Smoke,
The Moody Blues,
D'Angelo,
Byron Stingily,
Index,
The Golliwogs,
Gang Gang Dance,
Neil Young,
Joey Negro,
Soft Machine,
Spandau Ballet,
Rhythm & Sound,
Scratch Acid,
Charles Mingus,
Fort Wilson Riot,
The Mojo Men,
Notorious Big And Bone Thugs,
The Mummies,
Pantytec,
Bizarre Inc.,
Danielle Patucci,
Ossler,
Nick Fraelich,
Bobbi Humphrey,
Camron Feat. Jay Z And Juelz,
Warren Ellis,
Vladislav Delay,
Black Moon,
Thinking Fellers Union Local 282,
Gabor Szabo,
The Misunderstood,
Radiopuhelimet,
Sly & The Family Stone,
Tom Boy,
Ajijia Myrayebe,
Kas Product,
Cheater Slicks,
Rotary Connection,
Ultra Naté,
Jacob Miller,
Slave,
Erykah Badu,
Anakelly,
June Days,
Jawbox,
the Bar-Kays,
The Durutti Column,
Flash Fearless,
Carl Craig,
Johnny Clarke,
Eric Dolphy,
Kurtis Blow,
Electric Prunes,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.