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 Jordan and from Toronto.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Aaron Thompson to the grime 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 Audionom. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal crunk 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 a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
Matthew Halsall,
Piero Umiliani,
Con Funk Shun,
Zero Boys,
Rufus Thomas,
Gang Gang Dance,
Bauhaus,
Jeru the Damaja,
The Walker Brothers,
Adolescents,
The West Coast Pop Art Experimental Band,
Frankie Knuckles,
Roxy Music,
Model 500,
The Durutti Column,
Maurizio,
The Kinks,
Eric Copeland,
Ronan,
Aloha Tigers,
Cameo,
The Chocolate Watch Band,
the Slits,
Bootsy Collins,
Bill Near,
Alison Limerick,
Excepter,
Flamin' Groovies,
Groovy Waters,
Fifty Foot Hose,
Pylon,
Livin' Joy,
The Moody Blues,
Anthony Braxton,
Sex Pistols,
Sarah Menescal,
the Normal,
Soft Machine,
Half Japanese,
The Doors,
The Angels of Light,
Lakeside,
Orchestral Manoeuvres in the Dark,
Captain Beefheart & His Magic Band,
Smog,
Wally Richardson,
Oppenheimer Analysis,
Liaisons Dangereuses,
Duran Duran,
Neil Young,
Ossler,
Suicide,
Marc Romboy vs. Booka Shade,
June of 44,
Fugazi,
Second Layer,
The Alarm Clocks,
The Golliwogs,
Marine Girls,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.