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 Sweden and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1974.
I'm losing my edge.
To all the kids in Columbus and Beijing.
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 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 Donald Fagen 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 The Smoke to the disco kids.
I played it at the Spitz.
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 Supertramp. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
The Martian,
Magazine,
Talk Talk,
Average White Band,
Spoonie Gee,
the Slits,
The American Breed,
Gary Puckett & The Union Gap,
Lizzy Mercier Descloux,
The Doors,
Janne Schatter,
Harry Pussy,
The Slits,
Kauko Röyhkä ja Narttu,
Scientists,
Camron Feat. Memphis Bleek And Beenie Seigel,
Major Organ And The Adding Machine,
The Flesh Eaters,
The Cramps,
Fifty Foot Hose,
The Toasters,
Junior Murvin,
Barry Ungar,
Terry Callier,
Tom Boy,
Pagans,
The New Christs,
Kas Product,
John Coltrane,
The Standells,
Das Ding,
Max Romeo,
The Gories,
Bluetip,
Don Cherry,
The West Coast Pop Art Experimental Band,
Heaven 17,
Crispian St. Peters,
Deepchord,
B.T. Express,
June Days,
Tropical Tobacco,
Chris & Cosey,
The Slackers,
Sandy B,
L. Decosne,
Audionom,
Dual Sessions,
Technova,
La Düsseldorf,
World's Most,
Judy Mowatt,
Vainqueur,
Mary Jane Girls,
Unrelated Segments,
Con Funk Shun,
Funky Four + One,
Davy DMX,
Rosa Yemen,
Gregory Isaacs,
The Techniques,
Nirvana,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.