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 Chile and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
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 harpsichord 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 Minny Pops to the funk kids.
I played it at the 40 Watt.
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 Lafayette Afro Rock Band. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Drexciya 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Graham Central Station,
Ultimate Spinach,
D'Angelo,
Qualms,
Gang Gang Dance,
Terror Squad Feat. Camron,
Porter Ricks,
Unwound,
Aaron Thompson,
The Detroit Cobras,
Dawn Penn,
Barclay James Harvest,
Oblivians,
Bootsy Collins,
Kango’s Stein Massive,
New York Dolls,
The Seeds,
The Raincoats,
Rekid,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Knickerbockers,
Tears for Fears,
the Slits,
Erasure,
The Misunderstood,
Parry Music,
cv313,
Dr. Dre and Snoop Doggy Dog,
Liliput,
Crooked Eye,
Matthew Halsall,
Thompson Twins,
Ralphi Rosario,
Black Moon,
Amazonics,
David Axelrod,
Symarip,
Sonic Youth,
Public Image Ltd.,
Deadbeat,
Negative Approach,
Interpol,
the Fania All-Stars,
Beasts of Bourbon,
The Stooges,
New Age Steppers,
Bauhaus,
Tim Buckley,
The Wake,
Letta Mbulu,
Glambeats Corp.,
Eve St. Jones,
Arcadia,
L. Decosne,
Max Romeo,
F. McDonald,
Roger Hodgson,
Kauko Röyhkä ja Narttu,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.