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 Croatia and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Beijing 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Sixth Finger to the grime kids.
I played it at the 40 Watt.
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 Interpol. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
A Certain Ratio,
Jerry's Kids,
Parry Music,
Sex Pistols,
Lalann,
Moby Grape,
Depeche Mode,
Pantaleimon,
It's A Beautiful Day,
Average White Band,
Blossom Toes,
the Soft Cell,
The Men They Couldn't Hang,
John Lydon,
LL Cool J,
Eric Copeland,
Crooked Eye,
The Music Machine,
Peter & Gordon,
Oneida,
Funky Four + One,
Wolf Eyes,
H. Thieme,
Technova,
Scott Walker + Sunn O))),
Amazonics,
Interpol,
Nik Kershaw,
Pierre Henry,
10cc,
a-ha,
Stetsasonic,
Model 500,
Gastr Del Sol,
James White and The Blacks,
The Litter,
Cameo,
Rites of Spring,
The Smiths,
John Coltrane,
The Walker Brothers,
Barry Ungar,
Grauzone,
Deepchord,
The Blues Magoos,
The Dirtbombs,
The Vogues,
Leonard Cohen,
Kool G Rap & DJ Polo,
The Red Krayola,
The Residents,
Roger Hodgson,
Arab on Radar,
Gichy Dan,
Tim Buckley,
Suicide,
X-Ray Spex,
X-101, X-101, X-101, X-101.
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.