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 Mongolia and from Milan.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Jakarta 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 David Bowie 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 Schoolly D to the jazz 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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every The Walker Brothers 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lalo Schifrin record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Black Bananas,
The Motions,
Ultra Naté,
The United States of America,
Flipper,
Piero Umiliani,
John Holt,
JFA,
Panda Bear,
Oneida,
The Alarm Clocks,
The Associates,
Theoretical Girls,
Heaven 17,
Notorious BIG live in Amsterdam,
Colin Newman,
Yaz,
X-Ray Spex,
The New Christs,
Wings,
ABC,
Jesper Dahlback,
Country Joe & The Fish,
Bootsy Collins,
John Cale,
R.M.O.,
Reagan Youth,
The Moleskins,
Richard Hell and the Voidoids,
Masters at Work,
June of 44,
Peter and Kerry,
The Pop Group,
Ossler,
Model 500,
Sexual Harrassment,
Infiniti,
Don Cherry,
Junior Murvin,
Stereo Dub,
Bronski Beat,
The Cure,
Eddi Front,
the Human League,
The Red Krayola,
Bang on a Can All-Stars,
June Days,
Lebanon Hanover,
Electric Light Orchestra,
Boredoms,
Television Personalities,
Talk Talk,
Gary Puckett & The Union Gap,
The Vogues,
Arab on Radar,
John Coltrane,
Prince Buster,
The Doors,
Nirvana,
Danielle Patucci,
The Cramps, The Cramps, The Cramps, The Cramps.
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.