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 Estonia and from Sao Paulo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Philadelphia 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 theremin sounds with much patience.
I was there when Lou Reed 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 Outsiders to the electroclash kids.
I played it at the Roxy.
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 New York Dolls. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Colin Newman 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Surgeon,
Magma,
Lalann,
Gong,
The Cowsills,
The Stooges,
Audionom,
Angry Samoans,
Camberwell Now,
The Gun Club,
Richard Hell and the Voidoids,
Minny Pops,
Eyeless In Gaza,
Gil Scott-Heron and Jamie xx,
Masters at Work,
Supertramp,
Röyhkä ja Rättö ja Lehtisalo,
London Community Gospel Choir,
New Age Steppers,
John Coltrane,
Alphaville,
the Soft Cell,
Curtis Mayfield,
Girls At Our Best!,
The Victims,
Q and Not U,
Half Japanese,
World's Most,
Average White Band,
Ten City,
De La Soul & Jungle Brothers,
Don Cherry,
CMW,
Black Pus,
Liaisons Dangereuses,
Shuggie Otis,
the Fania All-Stars,
Heavy D & The Boyz,
Frankie Knuckles,
Mark Hollis,
Aural Exciters,
The Shadows of Knight,
the Normal,
Arcadia,
James Chance & The Contortions,
The Raincoats,
Ronan,
Joe Smooth,
Eric Dolphy,
Moss Icon,
The Men They Couldn't Hang,
Nas,
Quando Quango,
Mission of Burma,
Ultramagnetic MC's,
David McCallum,
Slave,
Deutsch Amerikanische Freundschaft,
Morten Harket,
Lee Hazlewood,
Thee Headcoats,
Cybotron, Cybotron, Cybotron, Cybotron.
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.