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 Mongolia and from Calgary.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school Manchester 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Anthony Braxton to the rap 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Todd Terry 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
The Detroit Cobras,
Siglo XX,
Los Fastidios,
Deakin,
Pharaoh Sanders and the Fire Engines,
The Velvet Underground,
Wings,
David Axelrod,
Be Bop Deluxe,
Manfred Mann's Earth Band,
Dead Boys,
Henry Cow,
Godley & Creme,
Lizzy Mercier Descloux,
Letta Mbulu,
Second Layer,
Black Pus,
Outsiders,
Jesper Dahlbäck,
EPMD,
Suicide,
The Moody Blues,
DeepChord presents Echospace,
Silicon Teens,
Animal Collective,
The Dirtbombs,
The Alarm Clocks,
Slave,
Marine Girls,
Parry Music,
The Gun Club,
Tommy Roe,
Eric B and Rakim,
Jerry's Kids,
Cheater Slicks,
Lou Reed & John Cale,
Zapp,
Bobbi Humphrey,
D'Angelo,
Kayak,
Rekid,
Aswad,
Ice-T,
The Techniques,
Smog,
Cecil Taylor,
Bronski Beat,
Eli Mardock,
Nico,
The Remains,
Jacques Brel,
Moss Icon,
Radio Birdman,
Terry Callier,
Teenage Jesus and the Jerks,
Y Pants,
Johnny Osbourne,
Michelle Simonal,
Porter Ricks,
Echospace,
Ronnie Foster,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.