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 Switzerland and from Houston.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Lyon 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 The Electric Prunes to the dance kids.
I played it at the Troubador.
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 Isaac Hayes. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Grauzone,
Suicide,
AZ,
Rotary Connection,
Au Pairs,
8 Eyed Spy,
Don Cherry,
Intrusion,
Wings,
Spandau Ballet,
Rhythm & Sound,
The Doors,
F. McDonald,
The Techniques,
A Flock of Seagulls,
Sly & The Family Stone,
the Bar-Kays,
Deutsch Amerikanische Freundschaft,
Orchestral Manoeuvres in the Dark,
Swell Maps,
Morten Harket,
Wighnomy Brothers & Robag Wruhme,
Kerri Chandler,
Bizarre Inc.,
Graham Central Station,
Sun Ra,
Gang Green,
Quadrant,
Wire,
The Blackbyrds,
Roger Hodgson,
Echo & the Bunnymen,
Andrew Hill,
Mad Mike,
The Martian,
Television,
The Angels of Light,
Joyce Sims,
LL Cool J,
Sexual Harrassment,
X-101,
The Skatalites,
The Velvet Underground,
Hot Snakes,
Patti Smith,
Frankie Knuckles,
Das Ding,
The Chocolate Watch Band,
Schoolly D,
Deepchord,
Eyeless In Gaza,
Stiv Bators,
Pylon,
The Wake,
FM Einheit,
The Birthday Party,
Mandrill,
Yusef Lateef,
Rapeman,
Can, Can, Can, Can.
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.