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 Tanzania and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Glasgow and Shanghai.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Stockholm Monsters to the funk kids.
I played it at the Spitz.
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 Stooges. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Danielle Patucci,
Ultravox,
John Foxx,
Minnie Riperton,
Curtis Mayfield,
Josef K,
Swans,
Gian Franco Pienzio,
The New Christs,
The Move,
The Offenders,
Sonny Sharrock,
JFA,
Eli Mardock,
48th St. Collective,
R.M.O.,
The Smiths,
Glambeats Corp.,
The Gun Club,
John Holt,
a-ha,
Parry Music,
Roxy Music,
Sunsets and Hearts,
Motorama,
Alison Limerick,
Rhythm & Sound,
Kool G Rap & DJ Polo,
Marc Almond,
cv313,
Art Ensemble Of Chicago,
The Sisters of Mercy,
Erasure,
Loose Ends,
Gang of Four,
Das Ding,
Radiopuhelimet,
Grandmaster Flash and the Furious Five,
Liliput,
Bobby Sherman,
Mad Mike,
Gil Scott Heron,
EPMD,
Throbbing Gristle,
Bobby Womack,
Gary Puckett & The Union Gap,
Icehouse,
Pierre Henry,
Little Man,
Andrew Hill,
New Order,
The Chocolate Watch Band,
Lyres,
Moby Grape,
Circle Jerks,
Animal Collective,
Mission of Burma,
Liaisons Dangereuses,
Ten City,
Dr. Dre and Snoop Doggy Dog,
Kevin Saunderson,
Roy Ayers Ubiquity,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.