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 Belarus and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Winnipeg and New York.
I'm losing my edge to the art-school Lille 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 spring reverb 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 Pete Rock & C.L. Smooth to the electroclash 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 Fat Boys. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Kings Of Tomorrow,
Alphaville,
Talk Talk,
Babytalk,
Shuggie Otis,
KRS-One,
Kerri Chandler,
Mark Hollis,
Dawn Penn,
Carl Craig,
DJ Style,
The Birthday Party,
Robert Görl,
Joyce Sims,
Masters at Work,
The New Christs,
Aural Exciters,
The Fugs,
Neil Young,
the Swans,
Hot Snakes,
Jawbox,
Scrapy,
Minny Pops,
Gil Scott Heron,
Gary Puckett & The Union Gap,
Average White Band,
Jerry's Kids,
Idris Muhammad,
The Stooges,
Model 500,
X-101,
James Chance & The Contortions,
The Evens,
Y Pants,
Roxy Music,
Camron Feat. Memphis Bleek And Beenie Seigel,
Terrestrial Tones,
Niagra,
Bad Manners,
The Sisters of Mercy,
Rekid,
The Motions,
Oblivians,
Röyhkä ja Rättö ja Lehtisalo,
a-ha,
Lizzy Mercier Descloux,
Ornette Coleman,
Adolescents,
The Move,
James White and The Blacks,
Boogie Down Productions,
These Immortal Souls,
Alice Coltrane,
Super Lover Cee & Casanova Rud,
Mad Mike,
Aaron Thompson,
The Pretty Things,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.