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 Latvia and from Spokane.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Tehran 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe 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 Arab on Radar to the crunk kids.
I played it at Trash.
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 Offenders. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
This Heat,
Magma,
Funky Four + One,
MDC,
Gary Puckett & The Union Gap,
The Buckinghams,
Moss Icon,
Interpol,
Liaisons Dangereuses,
Kaleidoscope,
Angry Samoans,
Japan,
Banda Bassotti,
Peter & Gordon,
the Swans,
Al Stewart,
Gang Gang Dance,
Lalo Schifrin,
Sarah Menescal,
Metal Thangz,
Janne Schatter,
Joy Division,
Brand Nubian,
Delon & Dalcan,
The Stooges,
Circle Jerks,
Carl Craig,
Black Flag,
The United States of America,
Half Japanese,
Main Source,
Black Pus,
Slave,
Absolute Body Control,
Harpers Bizarre,
Theoretical Girls,
Brass Construction,
Barbara Tucker,
Eric B and Rakim,
Accadde A,
Throbbing Gristle,
Soft Machine,
Lyres,
Mo-Dettes,
Spandau Ballet,
Letta Mbulu,
Terry Callier,
The Skatalites,
Sad Lovers and Giants,
ABC,
Pantytec,
Ornette Coleman,
a-ha,
Blossom Toes,
Neu!,
Glambeats Corp.,
Ronnie Foster,
The Mighty Diamonds,
The Fire Engines,
It's A Beautiful Day,
Ten City, Ten City, Ten City, Ten City.
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.