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 Turkey and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Lyon 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 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 James White and The Blacks to the disco kids.
I played it at the Spitz.
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 Deadbeat. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every The Techniques 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Whodini,
John Foxx,
LL Cool J,
Vaughan Mason & Crew,
Kenny Larkin,
Marc Romboy vs. Booka Shade,
Soul II Soul,
Underground Resistance,
Throbbing Gristle,
Scientists,
DeepChord presents Echospace,
Tommy Roe,
The Slackers,
Make Up,
Girls At Our Best!,
Tears for Fears,
Kool Moe Dee,
Amazonics,
Agent Orange,
Sällskapet,
Max Romeo,
Rites of Spring,
Kas Product,
The Martian,
Hoover,
The Monochrome Set,
The Flesh Eaters,
Roxette,
The Remains,
De La Soul & Jungle Brothers,
DNA,
Shoche,
The Happenings,
Gary Puckett & The Union Gap,
James Chance & The Contortions,
Pulsallama,
the Slits,
Bobby Sherman,
Fluxion,
Gang Starr,
Crispy Ambulance,
The Dave Clark Five,
The Vogues,
The Seeds,
The Buckinghams,
Nas,
The United States of America,
Public Enemy,
Cecil Taylor,
Groovy Waters,
The Smiths,
Suicide,
The Doors,
Barbara Tucker,
Joensuu 1685,
Robert Hood,
Thinking Fellers Union Local 282,
Symarip,
Quadrant,
Joyce Sims,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.