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 Serbia and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1975.
I'm losing my edge.
To all the kids in Calgary and Shanghai.
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 arpeggiator 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 Traffic Nightmare to the grunge kids.
I played it at the Crocodile.
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 Drexciya. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Deepchord,
Technova,
The Divine Comedy,
Fifty Foot Hose,
The Young Rascals,
Vladislav Delay,
Brothers Johnson,
Reagan Youth,
Eve St. Jones,
Procol Harum,
Avey Tare,
Mandrill,
The Chocolate Watch Band,
The Five Americans,
Royal Trux,
Nirvana,
The Angels of Light,
The Cosmic Jokers,
New Order,
Unrelated Segments,
Vaughan Mason & Crew,
Richard Hell and the Voidoids,
Beasts of Bourbon,
The Grass Roots,
Sandy B,
Arcadia,
June Days,
Bad Manners,
Spoonie Gee,
Mr. Review,
Graham Central Station,
Gil Scott-Heron and Jamie xx,
Accadde A,
The Happenings,
Supertramp,
Theoretical Girls,
John Cale,
Robert Görl,
Connie Case,
The Star Department,
Circle Jerks,
a-ha,
Swans,
The Skatalites,
Matthew Halsall,
Los Fastidios,
Iggy Pop,
Gil Scott Heron,
Bootsy Collins,
The Beau Brummels,
The Offenders,
48th St. Collective,
Mantronix,
The Alarm Clocks,
Chrome,
Stetsasonic,
Drexciya,
The Velvet Underground,
X-101,
Eddi Front,
Skriet, Skriet, Skriet, Skriet.
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.