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 Singapore and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Salvador 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Lou Christie to the grime kids.
I played it at the Troubador.
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 Ronnie Foster. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Japan 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Marmalade,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Durutti Column,
Dual Sessions,
Crime,
Ultramagnetic MC's,
Harmonia,
Joey Negro,
Kings Of Tomorrow,
Marcia Griffiths,
Sonny Sharrock,
Sparks,
The Fortunes,
Adolescents,
Gil Scott-Heron & Brian Jackson,
Zero Boys,
Glambeats Corp.,
Drexciya,
Bobby Byrd,
Eurythmics,
These Immortal Souls,
Robert Görl,
The Skatalites,
Lalann,
Los Fastidios,
Ornette Coleman,
Sight & Sound,
Newcleus,
Television Personalities,
Theoretical Girls,
Stetsasonic,
The Techniques,
Yazoo,
The Five Americans,
Fugazi,
One Last Wish,
Eli Mardock,
World's Most,
Faraquet,
Selector Dub Narcotic,
The Cosmic Jokers,
Jawbox,
Royal Trux,
Moebius,
Siglo XX,
Byron Stingily,
The Leaves,
Inner City,
Kango’s Stein Massive,
Goldenarms,
Cybotron,
Pharaoh Sanders and the Fire Engines,
Lafayette Afro Rock Band,
The Pretty Things,
X-101,
The Star Department,
Lucky Dragons,
X-102,
Bootsy Collins,
Beasts of Bourbon,
Y Pants,
Yellowson,
Magazine,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.