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 Saudi Arabia and from Columbus.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1962 to 1977.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Portland 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 chamberlin 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 FM Einheit to the funk 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 Kauko Röyhkä ja Narttu. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal rock 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 organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Hot Snakes,
Barclay James Harvest,
Mars,
The Pretty Things,
Mark Hollis,
Accadde A,
Au Pairs,
The Names,
The Detroit Cobras,
Youth Brigade,
Bang On A Can,
H. Thieme,
Cameo,
Eric B and Rakim,
The United States of America,
Roy Ayers,
Peter & Gordon,
The Fugs,
Aaron Thompson,
Amon Düül,
Angels of Light & Akron/Family,
Q and Not U,
Trumans Water,
Oneida,
Peter Gordon & Love of Life Orchestra,
The Moody Blues,
Ice-T,
Lou Christie,
Donald Byrd,
Kerrie Biddell,
Liaisons Dangereuses,
A Flock of Seagulls,
Manfred Mann's Earth Band,
Sixth Finger,
The Busters,
Newcleus,
Marc Almond,
Leonard Cohen,
Pulsallama,
Warsaw,
Radiohead,
the Swans,
Andrew Hill,
The Barracudas,
In Retrospect,
Suicide,
Joensuu 1685,
Marc Romboy vs. Booka Shade,
Chris & Cosey,
Sällskapet,
The Velvet Underground,
Jacques Brel,
Throbbing Gristle,
Vainqueur,
Ultimate Spinach,
Simply Red,
Kool G Rap & DJ Polo,
Oppenheimer Analysis,
James White and The Blacks,
Rekid, Rekid, Rekid, Rekid.
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.