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 El Salvador and from Spokane.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Bremen and London.
I'm losing my edge to the art-school Stockholm 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Pete Rock & C.L. Smooth to the electroclash kids.
I played it at the Hacienda.
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 Liliput. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Danielle Patucci record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Grey Daturas,
Larry & the Blue Notes,
Toni Rubio,
The Last Poets,
Cybotron,
The Electric Prunes,
Stiv Bators,
Arab on Radar,
Harmonia,
Ludus,
Todd Rundgren,
Circle Jerks,
Yaz,
the Human League,
Absolute Body Control,
Anthony Braxton,
Röyhkä ja Rättö ja Lehtisalo,
Terrestrial Tones,
Lizzy Mercier Descloux,
Boredoms,
Sound Behaviour,
Peter and Kerry,
Little Man,
Gary Puckett & The Union Gap,
Grandmaster Flash and the Furious Five,
Lindisfarne,
Simply Red,
Kerri Chandler,
Japan,
Drexciya,
Loose Ends,
Electric Light Orchestra,
Dark Day,
Janne Schatter,
Avey Tare's Slasher Flicks,
Peter & Gordon,
Graham Central Station,
Cabaret Voltaire,
Youth Brigade,
Quando Quango,
Outsiders,
Funky Four + One,
Supertramp,
Sexual Harrassment,
Warsaw,
Interpol,
Roy Ayers,
Josef K,
KRS-One,
Moebius,
The Fall,
Wire,
Hoover,
Tommy Roe,
The Moody Blues,
The Shadows of Knight,
Magazine,
The Blackbyrds,
Thee Headcoats,
The Doobie Brothers,
Piero Umiliani,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.