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 Rwanda and from Manchester.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Halifax and Madrid.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 Cameo to the rock 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 Rahsaan Roland Kirk. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal rock 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 a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Jeff Mills,
D'Angelo,
Tres Demented,
Stiv Bators,
the Bar-Kays,
The Dead C,
The Knickerbockers,
Nick Fraelich,
Pagans,
Larry & the Blue Notes,
T. Rex,
Unwound,
Duran Duran,
Marcia Griffiths,
Thee Headcoats,
Simply Red,
Justin Hinds & The Dominoes,
The Flesh Eaters,
Mantronix,
Kenny Larkin,
Deepchord,
Easy Going,
Theoretical Girls,
Japan,
The Durutti Column,
Sexual Harrassment,
Orchestral Manoeuvres in the Dark,
Andrew Hill,
The Buckinghams,
The Monks,
Traffic Nightmare,
B.T. Express,
Marc Romboy vs. Booka Shade,
Eric B and Rakim,
Urselle,
Siouxsie and the Banshees,
Carl Craig,
The Evens,
Warsaw,
The Index,
Gastr Del Sol,
Aaron Thompson,
Terry Callier,
The J.B.'s,
Fear,
Roy Ayers,
Lonnie Liston Smith,
Schoolly D,
Fat Boys,
Pere Ubu,
Rites of Spring,
The Sound,
Byron Stingily,
Kango’s Stein Massive,
CMW,
A Flock of Seagulls,
John Foxx,
Prince Buster,
Tropical Tobacco,
The Red Krayola,
Monks,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.