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 Mali and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1975.
I'm losing my edge.
To all the kids in Shanghai 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 harpsichord 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 48th St. Collective to the punk kids.
I played it at Trash.
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 Ultravox. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Jeff Mills 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
James White and The Blacks,
Stetsasonic,
Ornette Coleman,
Bluetip,
Big Daddy Kane,
The Smoke,
48th St. Collective,
AZ,
Drexciya,
Drive Like Jehu,
Desert Stars,
Freddie Wadling,
Royal Trux,
Idris Muhammad,
Alphaville,
Susan Cadogan,
Darondo,
Sixth Finger,
Justin Hinds & The Dominoes,
Delta 5,
Minnie Riperton,
Urselle,
Scrapy,
Black Moon,
Heaven 17,
Rotary Connection,
The Associates,
Bauhaus,
Jandek,
Robert Hood,
Soul Sonic Force,
Ossler,
Art Ensemble Of Chicago,
Rosa Yemen,
Camberwell Now,
The Gap Band,
John Foxx,
Godley & Creme,
Marcia Griffiths,
Archie Shepp,
Be Bop Deluxe,
Reuben Wilson,
The Velvet Underground,
The Jesus and Mary Chain,
Soul II Soul,
Dennis Brown,
Captain Beefheart & His Magic Band,
Jacques Brel,
The Gun Club,
Arcadia,
Bush Tetras,
Chris & Cosey,
Roxette,
Organ,
Section 25,
The Fuzztones,
Vaughan Mason & Crew,
Jesper Dahlback,
Stiv Bators,
The Index,
Crispy Ambulance,
Lee Hazlewood,
Jawbox, Jawbox, Jawbox, Jawbox.
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.