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 Finland and from Beijing.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Calgary and Madrid.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Rhythm & Sound to the techno kids.
I played it at the Spitz.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Dead Boys,
London Community Gospel Choir,
Minor Threat,
Rekid,
Joe Smooth,
Andrew Ashong & Theo Parrish,
The Peanut Butter Conspiracy,
The Cramps,
Bootsy Collins,
The Gun Club,
Black Sheep,
Spandau Ballet,
Procol Harum,
The Divine Comedy,
Fluxion,
Bang on a Can All-Stars,
Oppenheimer Analysis,
Pierre Henry,
Public Image Ltd.,
Amon Düül,
The Barracudas,
the Human League,
Barclay James Harvest,
The Trojans,
Make Up,
Robert Hood,
Lou Christie,
Sun Ra Arkestra,
Junior Murvin,
The Gladiators,
The Mighty Diamonds,
New Order,
The Slackers,
48th St. Collective,
The United States of America,
Main Source,
Kurtis Blow,
Silicon Teens,
Young Marble Giants,
Kevin Saunderson,
Ten City,
Suicide,
Scott Walker,
Maurizio,
Johnny Osbourne,
Flash Fearless,
David Axelrod,
Girls At Our Best!,
Cybotron,
Jesper Dahlbäck,
Lou Reed & John Cale,
Drexciya,
Bad Manners,
Gang Green,
Gregory Isaacs,
Duran Duran,
CMW,
Intrusion,
Subhumans,
Black Flag,
Parry Music,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.