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 Iraq and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Columbus and Lyon.
I'm losing my edge to the art-school Hong Kong 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 güiro 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 Louis and Bebe Barron to the rap kids.
I played it at the Roxy.
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 Doors. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal grunge 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 an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Freddie Wadling,
The Music Machine,
Cameo,
Heavy D & The Boyz,
Outsiders,
Fluxion,
Ronan,
Gastr Del Sol,
Theoretical Girls,
Gregory Isaacs,
Moebius,
The Birthday Party,
Maleditus Sound,
Cecil Taylor,
Deakin,
Niagra,
The Evens,
Joensuu 1685,
The Saints,
Zero Boys,
R.M.O.,
Inner City,
Thee Headcoats,
Oblivians,
Massinfluence,
a-ha,
Saccharine Trust,
Gichy Dan,
Orchestral Manoeuvres in the Dark,
The Peanut Butter Conspiracy,
Los Fastidios,
The Cowsills,
Davy DMX,
Chris & Cosey,
Lungfish,
Skarface,
Slave,
In Retrospect,
E-Dancer,
Unwound,
Bootsy Collins,
Roxette,
Donny Hathaway,
Jandek,
Ash Ra Tempel,
X-101,
Röyhkä ja Rättö ja Lehtisalo,
Pere Ubu,
Lou Reed,
Sight & Sound,
Jeru the Damaja,
Porter Ricks,
The Electric Prunes,
Sparks,
The Young Rascals,
Man Parrish,
June of 44,
The Alarm Clocks,
8 Eyed Spy,
X-102,
Terror Squad Feat. Camron,
JFA, JFA, JFA, JFA.
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.