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 Singapore and from Taipei.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Salvador 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Bang On A Can to the electroclash 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 Massinfluence. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Rhythm & Sound,
Scott Walker,
The Dead C,
Archie Shepp,
Lalo Schifrin,
The Slits,
Eddi Front,
Louis and Bebe Barron,
10cc,
Little Man,
Brothers Johnson,
ABBA,
Colin Newman,
The Walker Brothers,
Niagra,
Sexual Harrassment,
The Slackers,
Rahsaan Roland Kirk,
Nas,
Piero Umiliani,
Selector Dub Narcotic,
Aswad,
Joy Division,
Loose Ends,
Aaron Thompson,
Traffic Nightmare,
The Names,
This Heat,
Severed Heads,
Avey Tare's Slasher Flicks,
Godley & Creme,
The Fuzztones,
The Seeds,
Henry Cow,
Essential Logic,
Vainqueur,
the Soft Cell,
The Vogues,
Ultra Naté,
The Cowsills,
The Durutti Column,
Ultramagnetic MC's,
Dead Boys,
Nils Olav,
Con Funk Shun,
Rakim,
Simply Red,
Public Image Ltd.,
F. McDonald,
John Cale,
The Knickerbockers,
Marc Almond,
Amon Düül,
Slick Rick,
Swans,
The J.B.'s,
June Days,
Kayak,
Amon Düül II,
Joe Finger,
Pet Shop Boys,
Nick Cave & The Bad Seeds,
Dual Sessions,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.