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 Marshall Islands and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1966 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Edmonton.
I'm losing my edge to the art-school Lagos 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 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 Con Funk Shun to the crunk 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 Scott Walker. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Throbbing Gristle,
Nation of Ulysses,
the Bar-Kays,
Tears for Fears,
Soulsonic Force,
Deutsch Amerikanische Freundschaft,
Isaac Hayes,
Alton Ellis,
Glenn Branca,
Rowland S Howard / Lydia Lunch,
Tommy Roe,
Bobby Sherman,
Glambeats Corp.,
Joensuu 1685,
Kool G Rap & DJ Polo,
The Gap Band,
Gong,
Ossler,
Wighnomy Brothers & Robag Wruhme,
Boz Scaggs,
FM Einheit,
Pussy Galore,
Cecil Taylor,
Nils Olav,
Howard Jones,
Joyce Sims,
DeepChord presents Echospace,
Stetsasonic,
Gabor Szabo,
Symarip,
Ronnie Foster,
Eve St. Jones,
MC5,
Slick Rick,
Nick Fraelich,
Danielle Patucci,
Arcadia,
Gang Starr,
Connie Case,
Letta Mbulu,
Bronski Beat,
Bob Dylan,
The Dead C,
Arthur Verocai,
Swans,
Lafayette Afro Rock Band,
Arab on Radar,
Drive Like Jehu,
Gichy Dan,
The New Christs,
The Leaves,
Alison Limerick,
Guru Guru,
Eden Ahbez,
Deepchord,
The West Coast Pop Art Experimental Band,
T.S.O.L.,
Can,
Terrestrial Tones,
Super Lover Cee & Casanova Rud,
The Peanut Butter Conspiracy,
Iggy Pop,
Shoche, Shoche, Shoche, Shoche.
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.