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 Burundi and from New York.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Chic practice in a loft in New York.
I was working on the snare 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 Brick to the dance kids.
I played it at the Hacienda.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
Section 25,
Sarah Menescal,
Quadrant,
Marmalade,
Leonard Cohen,
F. McDonald,
Tommy Roe,
Sparks,
Popol Vuh,
Vaughan Mason & Crew,
Bronski Beat,
Crispy Ambulance,
Toni Rubio,
The Last Poets,
Flash Fearless,
The Barracudas,
Harpers Bizarre,
The Tremeloes,
Qualms,
Roy Ayers Ubiquity,
Stockholm Monsters,
MC5,
Young Marble Giants,
The Searchers,
Gil Scott Heron,
Animal Collective,
Teenage Jesus and the Jerks,
Soulsonic Force,
Liaisons Dangereuses,
Warren Ellis,
Bill Near,
Don Cherry,
Country Joe & The Fish,
Ultramagnetic MC's,
Hot Snakes,
John Cale,
Charles Mingus,
Rapeman,
The Cure,
The Smiths,
The Zeros,
Chrome,
T.S.O.L.,
Mary Jane Girls,
Lucky Dragons,
Alison Limerick,
FM Einheit,
Juan Atkins,
Aural Exciters,
Lower 48,
Marc Almond,
Kauko Röyhkä ja Narttu,
Unwound,
The Human League,
Graham Central Station,
Mars,
The Toasters,
A Certain Ratio,
Wolf Eyes,
Derrick May,
Robert Hood,
Slave,
Altered Images, Altered Images, Altered Images, Altered Images.
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.