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 Sri Lanka and from London.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Lille 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Doors to the techno kids.
I played it at the Crocodile.
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 The Slackers. All the underground hits.
All Bizarre Inc. 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 funk 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 chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Masters at Work,
Kenny Larkin,
Magazine,
Television,
Ultravox,
The Pop Group,
Urselle,
Maleditus Sound,
This Heat,
Mr. Review,
Severed Heads,
The Royal Family And The Poor,
Icehouse,
Jacques Brel,
The Music Machine,
Hashim,
E-Dancer,
La Düsseldorf,
The Moody Blues,
Royal Trux,
Crime,
Röyhkä ja Rättö ja Lehtisalo,
KRS-One,
Nirvana,
Ash Ra Tempel,
Country Joe & The Fish,
Bang On A Can,
Vainqueur,
DNA,
Massinfluence,
Morten Harket,
Das Ding,
Dr. Dre and Snoop Doggy Dog,
LL Cool J,
Ronnie Foster,
Black Pus,
the Association,
Agent Orange,
Gil Scott Heron,
The Velvet Underground,
Terrestrial Tones,
Simply Red,
Man Parrish,
Joe Finger,
Ultimate Spinach,
Jesper Dahlback,
Radiohead,
James White and The Blacks,
A Certain Ratio,
Siglo XX,
The Red Krayola,
Section 25,
Sugar Minott,
Sight & Sound,
Grey Daturas,
Joey Negro,
Inner City,
The Dave Clark Five,
The Motions,
Angry Samoans,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.