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 New Zealand and from Houston.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Portland 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 rhodes sounds with much patience.
I was there when Lou Reed 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 West Coast Pop Art Experimental Band to the dance kids.
I played it at the Hacienda.
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 Cabaret Voltaire. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Can,
Thompson Twins,
Grandmaster Flash and the Furious Five,
Malaria!,
Ohio Players,
Susan Cadogan,
Donald Byrd,
Bizarre Inc.,
Lungfish,
Gabor Szabo,
The Associates,
Sad Lovers and Giants,
F. McDonald,
Khruangbin,
Stiv Bators,
Pantytec,
Fatback Band,
Glambeats Corp.,
Roxy Music,
Jimmy McGriff,
Röyhkä ja Rättö ja Lehtisalo,
Sparks,
Girls At Our Best!,
The Shadows of Knight,
The Cosmic Jokers,
B.T. Express,
48th St. Collective,
Slave,
The Zeros,
Flamin' Groovies,
Gian Franco Pienzio,
Grandmaster Flash,
Barry Ungar,
Roy Ayers,
The Standells,
The Index,
Mark Hollis,
The Trojans,
Orchestral Manoeuvres in the Dark,
Scan 7,
Grauzone,
Sam Rivers,
the Fania All-Stars,
Rapeman,
Bobbi Humphrey,
Lindisfarne,
Henry Cow,
Organ,
Bill Near,
The Music Machine,
Drexciya,
Royal Trux,
Livin' Joy,
Bobby Womack,
Nick Fraelich,
Scion,
The Monks,
Joensuu 1685,
Harpers Bizarre,
Heavy D & The Boyz,
Blake Baxter,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.