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 Rwanda and from Winnipeg.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 guitar 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 John Holt to the techno kids.
I played it at the Hacienda.
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 Robert Görl. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Boogie Down Productions,
Albert Ayler,
Ornette Coleman,
Half Japanese,
The Alarm Clocks,
R.M.O.,
Ash Ra Tempel,
Minor Threat,
Morten Harket,
The Moody Blues,
Marvin Gaye,
Robert Wyatt,
Gang of Four,
Kevin Saunderson,
The Mighty Diamonds,
Model 500,
Visage,
Los Fastidios,
Sad Lovers and Giants,
Gabor Szabo,
Be Bop Deluxe,
Pussy Galore,
This Heat,
Rakim,
Howard Jones,
Terry Callier,
Blossom Toes,
The Red Krayola,
Main Source,
The Detroit Cobras,
Moss Icon,
Heavy D & The Boyz,
Harpers Bizarre,
London Community Gospel Choir,
Oppenheimer Analysis,
Todd Rundgren,
Quadrant,
Stereo Dub,
Clear Light,
Kaleidoscope,
Talk Talk,
Jerry Gold Smith,
Anakelly,
Lou Christie,
Joey Negro,
Vladislav Delay,
The Knickerbockers,
Khruangbin,
Maleditus Sound,
Urselle,
Grauzone,
Nick Cave & The Bad Seeds,
Essential Logic,
Laurel Aitken,
Ultimate Spinach,
Drexciya,
The Offenders,
Ten City,
Arab on Radar,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.