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 Rwanda and from Manila.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Toronto and Delhi.
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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 The Victims to the dance kids.
I played it at the Troubador.
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 The Doobie Brothers. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Absolute Body Control,
Siouxsie and the Banshees,
David Bowie,
Cabaret Voltaire,
Warsaw,
Quando Quango,
Main Source,
Amazonics,
Subhumans,
Ludus,
Davy DMX,
Groovy Waters,
Dennis Brown,
Gabor Szabo,
Ronan,
the Slits,
Lebanon Hanover,
Traffic Nightmare,
Vainqueur,
Isaac Hayes,
Erasure,
Von Mondo,
Lalo Schifrin,
Robert Görl,
Moebius,
Scientists,
Eli Mardock,
This Heat,
Aswad,
The Star Department,
Jesper Dahlback,
Todd Terry,
Sad Lovers and Giants,
Matthew Halsall,
Bobby Sherman,
Brass Construction,
the Human League,
Interpol,
Loose Ends,
The Shadows of Knight,
The Fugs,
Rapeman,
Ornette Coleman,
Camberwell Now,
Heavy D & The Boyz,
Roxy Music,
Ash Ra Tempel,
Quantec,
Avey Tare & Kría Brekkan,
Sonic Youth,
The Slits,
The Royal Family And The Poor,
Lightning Bolt,
Oneida,
Fear,
The Detroit Cobras,
Jerry Gold Smith,
Sam Rivers,
B.T. Express,
Cheater Slicks,
Bang On A Can,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.