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 Somalia and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Toronto 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the güiro 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 Thompson Twins to the jazz 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 Minutemen. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Traffic Nightmare,
Monks,
Donny Hathaway,
Anthony Braxton,
Echo & the Bunnymen,
Chris Corsano,
the Soft Cell,
Mantronix,
8 Eyed Spy,
Brothers Johnson,
Roxette,
Andrew Ashong & Theo Parrish,
Piero Umiliani,
Simply Red,
Stereo Dub,
Sun Ra Arkestra,
Kerri Chandler,
Mad Mike,
Deakin,
Delon & Dalcan,
The Remains,
Sällskapet,
Black Bananas,
Erasure,
The Red Krayola,
Leonard Cohen,
Brand Nubian,
Ponytail,
Eric B and Rakim,
Sam Rivers,
The Toasters,
Suicide,
The Saints,
Godley & Creme,
Roger Hodgson,
Can,
Bluetip,
JFA,
Magazine,
Beasts of Bourbon,
Clear Light,
Young Marble Giants,
Derrick May,
Scott Walker,
Todd Rundgren,
Siglo XX,
Jesper Dahlbäck,
Maurizio,
Severed Heads,
Angels of Light & Akron/Family,
The Selecter,
Rekid,
Funky Four + One,
Radio Birdman,
Idris Muhammad,
The Stooges,
The Modern Lovers,
Janne Schatter,
Max Romeo,
Deepchord,
Captain Beefheart & His Magic Band,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.