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 Iran and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Woodstock 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Kool G Rap & DJ Polo to the punk kids.
I played it at Cafe Wha.
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 Jeff Mills. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Kurtis Blow 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible 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 Detroit Cobras,
Scott Walker,
The Pop Group,
Popol Vuh,
The Techniques,
Grandmaster Flash,
Ajijia Myrayebe,
Bronski Beat,
Shuggie Otis,
Anakelly,
Cluster,
Marmalade,
Bobby Womack,
Bill Near,
The Monochrome Set,
Juan Atkins,
Eurythmics,
Audionom,
Liliput,
The Chocolate Watch Band,
Can,
Crispian St. Peters,
Funky Four + One,
Index,
Crispy Ambulance,
Slave,
The Men They Couldn't Hang,
Public Image Ltd.,
Rowland S Howard / Lydia Lunch,
Peter and Kerry,
The Beau Brummels,
New York Dolls,
Eden Ahbez,
Fifty Foot Hose,
Camron Feat. Memphis Bleek And Beenie Seigel,
Danielle Patucci,
Ultra Naté,
D'Angelo,
DJ Sneak,
The Cramps,
Lyres,
Smog,
Brothers Johnson,
Bobbi Humphrey,
Pierre Henry,
Kas Product,
Don Cherry,
Robert Wyatt,
China Crisis,
Andrew Hill,
The Smoke,
Ultimate Spinach,
The Dead C,
Faust,
R.M.O.,
KRS-One,
Heavy D & The Boyz,
X-Ray Spex,
Nation of Ulysses,
The J.B.'s,
Adolescents,
Joensuu 1685,
Gil Scott Heron,
Theoretical Girls,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.