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 Burundi and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
I'm losing my edge to the art-school Stockholm 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 sitar 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 Dorothy Ashby to the rap kids.
I played it at CBGB's.
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 West Coast Pop Art Experimental Band. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Pantaleimon,
The Mojo Men,
The Men They Couldn't Hang,
Nation of Ulysses,
Siouxsie and the Banshees,
Kerri Chandler,
Section 25,
Country Joe & The Fish,
Ralphi Rosario,
Gil Scott-Heron and Jamie xx,
Lakeside,
Soul Sonic Force,
Soft Machine,
Strawberry Alarm Clock,
James Chance & The Contortions,
Alison Limerick,
The Busters,
Tom Boy,
UT,
Janne Schatter,
Lower 48,
Byron Stingily,
The Litter,
Sister Nancy,
Moss Icon,
Barry Ungar,
Agitation Free,
Crooked Eye,
The Stooges,
Lebanon Hanover,
Television,
Connie Case,
Deepchord,
Los Fastidios,
The Monochrome Set,
Hasil Adkins,
Cabaret Voltaire,
Reagan Youth,
B.T. Express,
Hot Snakes,
Matthew Halsall,
Deakin,
Brothers Johnson,
The Cramps,
Cecil Taylor,
OOIOO,
The Blues Magoos,
cv313,
June Days,
The Gories,
Minnie Riperton,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jeff Mills,
the Swans,
The Sisters of Mercy,
The Music Machine,
Ituana,
The Last Poets,
CMW,
Babytalk,
The Index,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.