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 South Sudan and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school Mexico City 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 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 Mary Jane Girls to the crunk kids.
I played it at the Astoria.
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 Spoonie Gee. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Strawberry Alarm Clock,
AZ,
The Skatalites,
Susan Cadogan,
Soft Cell,
Chrome,
Lakeside,
Interpol,
Bang On A Can,
Franke,
X-102,
Silicon Teens,
Minny Pops,
Grauzone,
Sonic Youth,
Ohio Players,
Avey Tare & Kría Brekkan,
Danielle Patucci,
The United States of America,
Duran Duran,
Rekid,
Sad Lovers and Giants,
The Toasters,
Ten City,
The West Coast Pop Art Experimental Band,
The Gun Club,
Lightning Bolt,
The Dead C,
Negative Approach,
the Human League,
Rahsaan Roland Kirk,
Main Source,
LL Cool J,
Hoover,
Crispy Ambulance,
Bobbi Humphrey,
Bill Near,
Marmalade,
Royal Trux,
Blancmange,
Harmonia,
Quantec,
Sugar Minott,
Arthur Verocai,
Jacob Miller,
The Last Poets,
The Motions,
Kerri Chandler,
Deutsch Amerikanische Freundschaft,
Hot Snakes,
Symarip,
Khruangbin,
Popol Vuh,
Al Stewart,
Camberwell Now,
Angels of Light & Akron/Family,
Lou Reed,
Q and Not U,
Pharaoh Sanders and the Fire Engines,
Wings,
Letta Mbulu,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.