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 South Sudan and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Winnipeg.
I'm losing my edge to the art-school Lyon 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 linndrum 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 Funkadelic to the disco kids.
I played it at the Crocodile.
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 Reagan Youth. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Harpers Bizarre 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Scratch Acid,
The Modern Lovers,
John Foxx,
The Real Kids,
Skaos,
Gichy Dan,
Interpol,
The Barracudas,
Slave,
Electric Prunes,
Gastr Del Sol,
Glambeats Corp.,
John Holt,
Pantaleimon,
Moebius,
Half Japanese,
The Doors,
Angry Samoans,
Black Sheep,
Dorothy Ashby,
Ornette Coleman,
Severed Heads,
James White and The Blacks,
Rhythim Is Rhythim,
Girls At Our Best!,
Rekid,
The Smiths,
Rotary Connection,
Black Bananas,
Gil Scott-Heron and Jamie xx,
Andrew Ashong & Theo Parrish,
Scan 7,
Tommy Roe,
Excepter,
Television Personalities,
Thinking Fellers Union Local 282,
Oppenheimer Analysis,
Larry & the Blue Notes,
La Düsseldorf,
Aloha Tigers,
Scott Walker + Sunn O))),
The Happenings,
K-Klass,
48th St. Collective,
Spandau Ballet,
Urselle,
Siglo XX,
Ralphi Rosario,
Con Funk Shun,
Bobby Sherman,
The Birthday Party,
Underground Resistance,
Rufus Thomas,
Talk Talk,
F. McDonald,
Black Moon,
Sixth Finger,
Terrestrial Tones,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.