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 Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1975.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Graham Central Station to the rock kids.
I played it at the Troubador.
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 Cecil Taylor. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal techno 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 arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Black Sheep,
John Coltrane,
Lou Reed & John Cale,
Arthur Verocai,
Yazoo,
The Fall,
These Immortal Souls,
Brothers Johnson,
Parry Music,
Alphaville,
Suicide,
The American Breed,
Public Enemy,
Super Lover Cee & Casanova Rud,
Delta 5,
Gregory Isaacs,
Monolake,
Al Stewart,
Andrew Hill,
Country Joe & The Fish,
Siglo XX,
Franke,
Avey Tare,
Sound Behaviour,
The Chocolate Watch Band,
Clear Light,
Fear,
The Saints,
Camberwell Now,
Boredoms,
Jeff Mills,
The New Christs,
Isaac Hayes,
Roxy Music,
Todd Terry,
The Moleskins,
Metal Thangz,
cv313,
Dawn Penn,
Susan Cadogan,
K-Klass,
Sixth Finger,
KRS-One,
the Bar-Kays,
Sandy B,
Chrome,
Lindisfarne,
Joe Finger,
Eric Copeland,
The Misunderstood,
Unwound,
Cluster,
Avey Tare & Kría Brekkan,
Blossom Toes,
The Cowsills,
Colin Newman,
Minor Threat,
Newcleus,
the Slits,
the Swans,
Sexual Harrassment,
Au Pairs,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.