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 Grenada and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Das Ding to the jazz kids.
I played it at the Troubador.
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 Motions. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Derrick May,
DJ Style,
The Invisible,
H. Thieme,
Scratch Acid,
Con Funk Shun,
Kerri Chandler,
Bill Near,
Saccharine Trust,
Ultramagnetic MC's,
Eyeless In Gaza,
Rapeman,
Desert Stars,
The Real Kids,
Pagans,
Frankie Knuckles,
Jesper Dahlbäck,
Sugar Minott,
Kauko Röyhkä ja Narttu,
Andrew Ashong & Theo Parrish,
The Cosmic Jokers,
Babytalk,
Gregory Isaacs,
Stereo Dub,
Scott Walker,
Jimmy McGriff,
Lower 48,
Parry Music,
Avey Tare's Slasher Flicks,
D'Angelo,
Soul II Soul,
Soul Sonic Force,
Danielle Patucci,
Reagan Youth,
Henry Cow,
Funkadelic,
Josef K,
Delta 5,
PIL,
Kings Of Tomorrow,
The Saints,
Gong,
A Certain Ratio,
The Names,
Goldenarms,
Rotary Connection,
James Chance & The Contortions,
The Techniques,
The Toasters,
Qualms,
Simply Red,
The Count Five,
Bronski Beat,
Siglo XX,
Throbbing Gristle,
Connie Case,
Alice Coltrane,
Art Ensemble Of Chicago,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.