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 Malaysia and from Milan.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Lyon 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Rod Modell to the disco kids.
I played it at Cafe Wha.
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 Bauhaus. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Chris Corsano,
Inner City,
L. Decosne,
Connie Case,
Brothers Johnson,
Kool G Rap & DJ Polo,
Minnie Riperton,
Delon & Dalcan,
Dark Day,
Bad Manners,
Zapp,
FM Einheit,
Chrome,
The Detroit Cobras,
Faust,
Franke,
Visage,
Blossom Toes,
Essential Logic,
Mantronix,
Gregory Isaacs,
Make Up,
Minor Threat,
The Saints,
the Fania All-Stars,
Moby Grape,
A Certain Ratio,
Mr. Review,
Notorious Big And Bone Thugs,
Monolake,
Skriet,
The Men They Couldn't Hang,
Marc Romboy vs. Booka Shade,
Crash Course in Science,
Lou Christie,
Rekid,
The Five Americans,
Pete Rock & C.L. Smooth,
The Durutti Column,
The Slits,
Jeff Lynne,
Crooked Eye,
Mandrill,
Monks,
Ultramagnetic MC's,
Rhythim Is Rhythim,
Glambeats Corp.,
The Seeds,
Nils Olav,
Radiohead,
David Bowie,
Arthur Verocai,
the Association,
Aswad,
Althea and Donna,
Yellowson,
Captain Beefheart & His Magic Band,
Procol Harum,
Animal Collective,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.