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 Portugal and from Calgary.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Madrid 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 oboe 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 Pulsallama to the grunge kids.
I played it at the 40 Watt.
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 Fuzztones. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Inner City,
A Flock of Seagulls,
Mars,
Marine Girls,
The Five Americans,
Marc Almond,
Matthew Bourne,
Tomorrow,
Arab on Radar,
Be Bop Deluxe,
Groovy Waters,
The Standells,
E-Dancer,
Magma,
Steve Hackett,
Delta 5,
Eli Mardock,
Livin' Joy,
DJ Style,
Ultramagnetic MC's,
Robert Wyatt,
The Offenders,
Black Bananas,
The Velvet Underground,
Stereo Dub,
The Saints,
The Cramps,
Yazoo,
Avey Tare,
Sällskapet,
Shuggie Otis,
Oppenheimer Analysis,
The Detroit Cobras,
Tommy Roe,
Fad Gadget,
Michelle Simonal,
the Germs,
Joensuu 1685,
David Axelrod,
Sun City Girls,
Gian Franco Pienzio,
Robert Görl,
Khruangbin,
Cymande,
Camouflage,
Tres Demented,
Oblivians,
Avey Tare & Kría Brekkan,
Franke,
Dual Sessions,
Swell Maps,
Cecil Taylor,
Kevin Saunderson,
the Fania All-Stars,
The Tremeloes,
Jeff Mills,
Harry Pussy,
Skaos, Skaos, Skaos, Skaos.
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.