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 Liechtenstein and from Columbus.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 PIL to the dance 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 Rosa Yemen. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every 48th St. Collective 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Rod Modell,
F. McDonald,
The Litter,
Lakeside,
Funkadelic,
Yaz,
Warsaw,
Severed Heads,
The Tremeloes,
Gil Scott-Heron & Brian Jackson,
Jeff Mills,
Flipper,
Symarip,
Ronnie Foster,
Fela Kuti,
Joe Smooth,
David Axelrod,
A Certain Ratio,
Magazine,
The Pop Group,
OOIOO,
the Association,
The Associates,
Eden Ahbez,
Eyeless In Gaza,
In Retrospect,
Schoolly D,
Khruangbin,
The Knickerbockers,
Half Japanese,
Drive Like Jehu,
Hot Snakes,
the Sonics,
Terror Squad Feat. Camron,
John Lydon,
Big Daddy Kane,
The Jesus and Mary Chain,
Pete Rock & C.L. Smooth,
Chris & Cosey,
Vainqueur,
Kurtis Blow,
Outsiders,
Infiniti,
Tom Boy,
Ultramagnetic MC's,
Basic Channel,
Pere Ubu,
Electric Light Orchestra,
Eli Mardock,
Nils Olav,
Bluetip,
Little Man,
Arthur Verocai,
Frankie Knuckles,
Albert Ayler,
Cameo,
Livin' Joy,
Ajijia Myrayebe,
Roy Ayers,
the Slits,
X-101, X-101, X-101, X-101.
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.