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 Netherlands and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Juan Atkins to the disco 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 Roxette tracks. I heard you have a vinyl of every The Five Americans record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Cabaret Voltaire,
Strawberry Alarm Clock,
Main Source,
The Sound,
Delon & Dalcan,
The Monochrome Set,
Leonard Cohen,
Ponytail,
In Retrospect,
Skarface,
Fugazi,
Jimmy McGriff,
The Smoke,
Masters at Work,
Avey Tare's Slasher Flicks,
Nirvana,
Dorothy Ashby,
Easy Going,
Grey Daturas,
LL Cool J,
Ice-T,
Boredoms,
Albert Ayler,
Reagan Youth,
Maleditus Sound,
Ultra Naté,
Procol Harum,
Simply Red,
Girls At Our Best!,
Judy Mowatt,
Sam Rivers,
Young Marble Giants,
The Misunderstood,
Hot Snakes,
The Durutti Column,
John Holt,
Ralphi Rosario,
Bauhaus,
Blake Baxter,
Unrelated Segments,
JFA,
The Black Dice,
Flash Fearless,
the Normal,
Slick Rick,
Grandmaster Flash and the Furious Five,
Andrew Hill,
Scott Walker + Sunn O))),
Graham Central Station,
Black Sheep,
Cal Tjader,
Rahsaan Roland Kirk,
Malaria!,
The Fuzztones,
Idris Muhammad,
Fatback Band,
Average White Band,
Vainqueur,
Crispian St. Peters,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.