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 Malaysia and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school London 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 arpeggiator 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 48th St. Collective to the funk 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 Minnie Riperton. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
James White and The Blacks,
The Wake,
The Litter,
Dave Gahan,
Albert Ayler,
Crispy Ambulance,
Subhumans,
Rowland S Howard / Lydia Lunch,
The Young Rascals,
Y Pants,
Art Ensemble Of Chicago,
Bang on a Can All-Stars,
Byron Stingily,
Althea and Donna,
Röyhkä ja Rättö ja Lehtisalo,
Robert Hood,
Quadrant,
Steve Hackett,
Joe Smooth,
Bauhaus,
The Names,
Big Daddy Kane,
Kool G Rap & DJ Polo,
Q and Not U,
PIL,
Black Sheep,
The Saints,
Juan Atkins,
Donny Hathaway,
Andrew Hill,
The Zeros,
Neil Young,
Archie Shepp,
ABBA,
Brand Nubian,
Sarah Menescal,
Girls At Our Best!,
The Last Poets,
Selector Dub Narcotic,
Aloha Tigers,
The Peanut Butter Conspiracy,
kango's stein massive,
Public Enemy,
Godley & Creme,
the Swans,
The Gap Band,
Blake Baxter,
Porter Ricks,
The Moody Blues,
Nico,
Gian Franco Pienzio,
The Fuzztones,
Faust,
Altered Images,
Black Pus,
The Five Americans,
Ponytail,
Mandrill,
The Skatalites,
The Residents, The Residents, The Residents, The Residents.
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.