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 Azerbaijan and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Stockholm 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 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 Sound Behaviour to the electroclash 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 The Fuzztones. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal grunge 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 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Country Joe & The Fish,
CMW,
The Jesus and Mary Chain,
Drexciya,
The Cramps,
Shoche,
Big Daddy Kane,
Minny Pops,
Wire,
8 Eyed Spy,
Moebius,
Aloha Tigers,
Mr. Review,
Arthur Verocai,
Harmonia,
Pierre Henry,
Hoover,
Flipper,
These Immortal Souls,
Slave,
Ultra Naté,
Sonny Sharrock,
Little Man,
Absolute Body Control,
The Zeros,
The Detroit Cobras,
Heavy D & The Boyz,
Man Parrish,
Public Enemy,
Siglo XX,
Monks,
Nick Fraelich,
Public Image Ltd.,
Sun Ra Arkestra,
Pylon,
Roy Ayers Ubiquity,
Bootsy Collins,
Swell Maps,
Zapp,
Wings,
Echo & the Bunnymen,
Jeru the Damaja,
Panda Bear,
John Holt,
Roy Ayers,
Khruangbin,
Roxette,
Donny Hathaway,
Siouxsie and the Banshees,
Gil Scott-Heron and Jamie xx,
X-101,
Rod Modell,
Drive Like Jehu,
Avey Tare & Kría Brekkan,
Man Eating Sloth,
Alison Limerick,
Matthew Halsall,
MDC,
Gabor Szabo,
Second Layer,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.