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 Bahamas and from Johannesburg.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Copenhagen 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Yazoo to the funk 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 The Selecter. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Vaughan Mason & Crew,
the Soft Cell,
Index,
Animal Collective,
Minutemen,
Kas Product,
Thee Headcoats,
Tropical Tobacco,
Accadde A,
Yellowson,
Masters at Work,
The Offenders,
the Sonics,
B.T. Express,
Moebius,
Pierre Henry,
Siglo XX,
E-Dancer,
Technova,
48th St. Collective,
The Monochrome Set,
Urselle,
Todd Terry,
Pulsallama,
Gichy Dan,
Barbara Tucker,
Loose Ends,
Swell Maps,
Cybotron,
Wasted Youth,
Absolute Body Control,
The Barracudas,
John Cale,
Flash Fearless,
Grandmaster Flash and the Furious Five,
Lightning Bolt,
Ponytail,
Jacques Brel,
X-Ray Spex,
Sunsets and Hearts,
Blancmange,
Skarface,
Lonnie Liston Smith,
Bronski Beat,
Neu!,
Pere Ubu,
Oblivians,
Graham Central Station,
Archie Shepp,
Orchestral Manoeuvres in the Dark,
Charles Mingus,
Soulsonic Force,
Niagra,
The Gap Band,
Unwound,
Arthur Verocai,
Sällskapet,
FM Einheit,
Bob Dylan,
Idris Muhammad,
The Gladiators,
Tres Demented,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.