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 Oman and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Bologna and Hong Kong.
I'm losing my edge to the art-school Milan 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Eric Copeland to the rock kids.
I played it at Trash.
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 Ajijia Myrayebe. All the underground hits.
All Index tracks. I heard you have a vinyl of every Stetsasonic 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 '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Swans,
Jacques Brel,
Delta 5,
Tres Demented,
Graham Central Station,
Godley & Creme,
The Music Machine,
Ornette Coleman,
The Men They Couldn't Hang,
Babytalk,
Joey Negro,
Sandy B,
Oblivians,
Black Sheep,
Ponytail,
Marshall Jefferson,
Joyce Sims,
Aloha Tigers,
Funkadelic,
Sixth Finger,
The Index,
Matthew Halsall,
The Velvet Underground,
The Sound,
Henry Cow,
Gastr Del Sol,
The Detroit Cobras,
H. Thieme,
Todd Terry,
Eric Dolphy,
Faust,
Brothers Johnson,
Motorama,
Tears for Fears,
Joensuu 1685,
Matthew Bourne,
Byron Stingily,
Television,
The Walker Brothers,
Mars,
Lee Hazlewood,
Fat Boys,
Lakeside,
Deakin,
Black Bananas,
Mr. Review,
A Flock of Seagulls,
Half Japanese,
Country Teasers,
Fad Gadget,
Rufus Thomas,
Amazonics,
Darondo,
kango's stein massive,
Carl Craig,
Crash Course in Science,
Richard Hell and the Voidoids,
Schoolly D,
DNA,
F. McDonald,
Art Ensemble Of Chicago,
Brass Construction,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.