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 Sierra Leone and from Hong Kong.
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 1960 to 1978.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 Parry Music to the jazz kids.
I played it at Trash.
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 Bluetip. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Wally Richardson,
Lower 48,
Avey Tare & Kría Brekkan,
Kevin Saunderson,
Spoonie Gee,
Dorothy Ashby,
Thee Headcoats,
Alice Coltrane,
Sunsets and Hearts,
Amon Düül,
Röyhkä ja Rättö ja Lehtisalo,
Circle Jerks,
Bill Near,
Brass Construction,
Darondo,
Tim Buckley,
Chris & Cosey,
Q and Not U,
Camouflage,
Traffic Nightmare,
Drive Like Jehu,
Angels of Light & Akron/Family,
Country Joe & The Fish,
The Vogues,
Urselle,
Morten Harket,
Mark Hollis,
Tears for Fears,
The Monks,
Massinfluence,
Quantec,
Isaac Hayes,
The Knickerbockers,
Rosa Yemen,
Letta Mbulu,
Mission of Burma,
T.S.O.L.,
Maurizio,
the Bar-Kays,
Yazoo,
Scott Walker + Sunn O))),
Iggy Pop,
Strawberry Alarm Clock,
The Selecter,
Fifty Foot Hose,
Trumans Water,
Supertramp,
Kool Moe Dee,
Echospace,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gang Starr,
Joey Negro,
L. Decosne,
Susan Cadogan,
Essential Logic,
The Walker Brothers,
Black Flag,
Dead Boys,
Parry Music,
Buzzcocks,
The Techniques,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.