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 Lebanon and from Manila.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1978.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 organ 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 Deepchord to the punk kids.
I played it at the Spitz.
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 Ludus. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Maleditus Sound 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Aural Exciters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Basic Channel,
The Gap Band,
The Modern Lovers,
DJ Style,
Wolf Eyes,
Be Bop Deluxe,
Selector Dub Narcotic,
Blossom Toes,
The Sonics,
Ohio Players,
Outsiders,
Thinking Fellers Union Local 282,
The Fuzztones,
Robert Wyatt,
Jeff Mills,
Skaos,
The Cramps,
Japan,
the Human League,
Gil Scott-Heron and Jamie xx,
James Chance & The Contortions,
Y Pants,
Joe Smooth,
Dawn Penn,
Godley & Creme,
Frankie Knuckles,
Thee Headcoats,
Altered Images,
Brass Construction,
Maurizio,
Roxy Music,
The Smoke,
F. McDonald,
FM Einheit,
Amon Düül II,
10cc,
Donald Byrd,
Ronan,
Boredoms,
Ituana,
Deadbeat,
Lakeside,
Bauhaus,
Slave,
Rod Modell,
Circle Jerks,
Supertramp,
Mars,
Kas Product,
Roy Ayers Ubiquity,
Fifty Foot Hose,
Young Marble Giants,
Television Personalities,
Radiohead,
Patti Smith,
Morten Harket,
Stockholm Monsters,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.