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 Italy and from Copenhagen.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
I'm losing my edge to the art-school Portland 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Stockholm Monsters to the grunge kids.
I played it at Cafe Wha.
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 Glenn Branca. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Motorama 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 '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Hashim,
David McCallum,
Kas Product,
Arab on Radar,
Idris Muhammad,
Average White Band,
The Techniques,
Desert Stars,
Charles Mingus,
Royal Trux,
The Dirtbombs,
Delta 5,
Niagra,
The Cosmic Jokers,
Rod Modell,
Moby Grape,
Fugazi,
Bush Tetras,
Bobby Womack,
Terrestrial Tones,
8 Eyed Spy,
Alison Limerick,
Blancmange,
Fifty Foot Hose,
Barclay James Harvest,
Piero Umiliani,
Oppenheimer Analysis,
Scrapy,
Reuben Wilson,
R.M.O.,
Be Bop Deluxe,
Tomorrow,
Gang Gang Dance,
Magma,
D'Angelo,
The Monochrome Set,
Nation of Ulysses,
Oblivians,
Art Ensemble Of Chicago,
Skaos,
Section 25,
Marc Almond,
Joe Smooth,
Gil Scott-Heron & Brian Jackson,
Ronan,
Black Bananas,
Ludus,
Khruangbin,
Unwound,
Lightning Bolt,
The Searchers,
Brand Nubian,
The Toasters,
Hasil Adkins,
Motorama,
Freddie Wadling,
Arthur Verocai,
Pulsallama,
Scientists,
Animal Collective,
Excepter, Excepter, Excepter, Excepter.
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.