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 Gabon and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1961 to 1979.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Cairo 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 spring reverb 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 The Selecter to the crunk kids.
I played it at the 40 Watt.
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 MDC. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every Brass Construction 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 an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five 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?
James Chance & The Contortions,
Be Bop Deluxe,
Sex Pistols,
Rotary Connection,
The Leaves,
DJ Sneak,
Von Mondo,
Harry Pussy,
LL Cool J,
the Normal,
Ice-T,
Gil Scott-Heron & Brian Jackson,
the Association,
Lee Hazlewood,
Wings,
The Fugs,
Boogie Down Productions,
Pylon,
the Slits,
Aaron Thompson,
Quando Quango,
The Victims,
Rhythm & Sound,
Khruangbin,
Index,
The Young Rascals,
Vainqueur,
Liaisons Dangereuses,
Johnny Osbourne,
the Human League,
Rhythim Is Rhythim,
T. Rex,
X-101,
The Selecter,
Gang Green,
The Red Krayola,
Icehouse,
R.M.O.,
Marmalade,
Eden Ahbez,
Lalann,
Reagan Youth,
UT,
Rowland S Howard / Lydia Lunch,
The Fall,
Lebanon Hanover,
Bush Tetras,
Soulsonic Force,
Echospace,
Ultra Naté,
Niagra,
Sound Behaviour,
Pantaleimon,
Yusef Lateef,
Symarip,
Kaleidoscope,
Robert Hood,
The Tremeloes,
Vladislav Delay,
Prince Buster,
The Flesh Eaters,
Camberwell Now,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.