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 Laos and from Edmonton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Todd Rundgren to the jazz kids.
I played it at CBGB's.
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 Swell Maps. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Desert Stars 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Dead Boys,
Porter Ricks,
Kerrie Biddell,
Cabaret Voltaire,
Scan 7,
Gil Scott-Heron and Jamie xx,
Camouflage,
Pantaleimon,
Gil Scott-Heron & Brian Jackson,
The Five Americans,
Eurythmics,
The Pop Group,
Television Personalities,
Dawn Penn,
Kurtis Blow,
the Bar-Kays,
MDC,
Flipper,
Boredoms,
Saccharine Trust,
D'Angelo,
The Move,
Ronan,
the Association,
Black Bananas,
The Fugs,
The Searchers,
The Evens,
Sällskapet,
MC5,
Country Teasers,
Nick Fraelich,
Radiopuhelimet,
Wighnomy Brothers & Robag Wruhme,
Ludus,
Pulsallama,
Visage,
Joensuu 1685,
Rakim,
Eyeless In Gaza,
Mantronix,
Bootsy's Rubber Band,
Scrapy,
The Doobie Brothers,
Letta Mbulu,
Blancmange,
Juan Atkins,
Ice-T,
Ken Boothe,
Cal Tjader,
Public Image Ltd.,
Max Romeo,
Mo-Dettes,
Gang Green,
The Happenings,
Erykah Badu,
The Gun Club,
Joe Smooth,
Scientists,
Sound Behaviour,
cv313,
Toni Rubio,
Suicide, Suicide, Suicide, Suicide.
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.