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 Kenya and from Tokyo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Lille and Lagos.
I'm losing my edge to the art-school Toronto 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator 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 Kings Of Tomorrow to the punk kids.
I played it at Trash.
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 Porter Ricks. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
Aaron Thompson,
Kerri Chandler,
Pantaleimon,
The West Coast Pop Art Experimental Band,
The Real Kids,
Brick,
Pierre Henry,
Marshall Jefferson,
Pussy Galore,
Dead Boys,
Section 25,
Shuggie Otis,
Judy Mowatt,
Kauko Röyhkä ja Narttu,
The Birthday Party,
Thee Headcoats,
Super Lover Cee & Casanova Rud,
Ornette Coleman,
Skriet,
Kenny Larkin,
Warren Ellis,
Public Image Ltd.,
Electric Light Orchestra,
Scratch Acid,
Quantec,
Arcadia,
Albert Ayler,
Nick Cave & The Bad Seeds,
R.M.O.,
The Last Poets,
The Litter,
The Cramps,
Drexciya,
Duran Duran,
Red Lorry Yellow Lorry,
Guru Guru,
DJ Style,
The Mojo Men,
Crooked Eye,
Banda Bassotti,
Fatback Band,
Basic Channel,
Spandau Ballet,
Thinking Fellers Union Local 282,
David Bowie,
Visionaries,LMNO, T- Love & Iriscience,
Unrelated Segments,
Barbara Tucker,
Gong,
Easy Going,
Roxette,
The Five Americans,
Bang on a Can All-Stars,
Grandmaster Flash,
Smog,
Technova,
Magazine,
The Pop Group,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.