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 Morocco and from Shanghai.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Philadelphia 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 sitar 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 Alison Limerick to the rock kids.
I played it at the Crocodile.
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 Mo-Dettes. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Radio Birdman 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 '80s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Kool Moe Dee,
Joe Finger,
Stockholm Monsters,
Steve Hackett,
Althea and Donna,
Ossler,
Eli Mardock,
Bob Dylan,
Jeff Mills,
Lebanon Hanover,
Flash Fearless,
The Slits,
The Mojo Men,
Angry Samoans,
Nik Kershaw,
Buzzcocks,
Todd Rundgren,
Josef K,
Pantaleimon,
Gastr Del Sol,
The Music Machine,
Royal Trux,
The Fire Engines,
John Holt,
Mr. Review,
The Victims,
Bizarre Inc.,
Funkadelic,
Can,
Massinfluence,
David Axelrod,
UT,
Delon & Dalcan,
Lower 48,
the Soft Cell,
Aural Exciters,
Dual Sessions,
H. Thieme,
Scion,
Section 25,
Wighnomy Brothers & Robag Wruhme,
Jeff Lynne,
La Düsseldorf,
Anthony Braxton,
Make Up,
The Real Kids,
Gang Gang Dance,
Connie Case,
Matthew Bourne,
Inner City,
Sun Ra,
U.S. Maple,
Ultra Naté,
Accadde A,
Soul II Soul,
Super Lover Cee & Casanova Rud,
The Cowsills,
The Divine Comedy,
Rekid,
DJ Style,
The Moody Blues,
Charles Mingus,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.