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 Botswana and from Beijing.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Madrid and Mexico City.
I'm losing my edge to the art-school Spokane 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb 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 Aloha Tigers to the techno 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 London Community Gospel Choir. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Bill Near,
Brothers Johnson,
Rowland S Howard / Lydia Lunch,
New Age Steppers,
JFA,
Kevin Saunderson,
Gil Scott-Heron & Brian Jackson,
The Fortunes,
Camberwell Now,
Pete Rock & C.L. Smooth,
The Durutti Column,
Pantytec,
Donald Byrd,
Alton Ellis,
Minnie Riperton,
Josef K,
DNA,
The Move,
K-Klass,
Rakim,
Gerry Rafferty,
Black Pus,
Black Flag,
Erykah Badu,
Dawn Penn,
Terry Callier,
Cameo,
Magma,
Newcleus,
UT,
Shoche,
Eve St. Jones,
Accadde A,
The Young Rascals,
The Associates,
Blancmange,
Tim Buckley,
Suicide,
Spoonie Gee,
Cecil Taylor,
Susan Cadogan,
Spandau Ballet,
Jawbox,
Gang Gang Dance,
Audionom,
Neil Young & Crazy Horse,
Flash Fearless,
Jandek,
Visage,
Scratch Acid,
Todd Rundgren,
Faraquet,
Neil Young,
Pet Shop Boys,
Rod Modell,
Khruangbin,
Charles Mingus,
Scan 7,
Swell Maps,
David Bowie,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.