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 Andorra and from Johannesburg.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Cairo and Tehran.
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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Thee Headcoats to the dance 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 Urselle. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Sugar Minott,
The Modern Lovers,
Sound Behaviour,
Mary Jane Girls,
Unwound,
The Buckinghams,
The American Breed,
Yazoo,
Camberwell Now,
Todd Rundgren,
Joe Smooth,
Marcia Griffiths,
Aaron Thompson,
T. Rex,
The Red Krayola,
Angels of Light & Akron/Family,
Black Pus,
U.S. Maple,
Khruangbin,
Boredoms,
Excepter,
Flash Fearless,
Bobby Byrd,
John Coltrane,
Dave Gahan,
Sandy B,
Andrew Hill,
Minny Pops,
Tom Boy,
Grey Daturas,
Isaac Hayes,
Roy Ayers,
Moebius,
The Detroit Cobras,
Mad Mike,
Manfred Mann's Earth Band,
Rapeman,
Thinking Fellers Union Local 282,
Bobby Hutcherson,
New Order,
Dark Day,
Barbara Tucker,
Circle Jerks,
the Swans,
The Slits,
Minnie Riperton,
Fifty Foot Hose,
Barry Ungar,
K-Klass,
James Chance & The Contortions,
Eve St. Jones,
Matthew Halsall,
The Index,
Kayak,
Faraquet,
Louis and Bebe Barron,
Crash Course in Science,
Lindisfarne,
The Golliwogs,
Japan,
Pussy Galore,
Kaleidoscope,
Pylon, Pylon, Pylon, Pylon.
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.