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 Estonia and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Halifax and Manchester.
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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Althea and Donna to the rock 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 Scrapy. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Kevin Saunderson 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 '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin 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 Association,
L. Decosne,
Michelle Simonal,
Bad Manners,
Country Joe & The Fish,
T.S.O.L.,
Bang on a Can All-Stars,
Pierre Henry,
Rapeman,
Hot Snakes,
Lou Reed,
Stereo Dub,
Kings Of Tomorrow,
Richard Hell and the Voidoids,
Pylon,
Yellowson,
The Fortunes,
Depeche Mode,
Scott Walker,
John Coltrane,
Scratch Acid,
The Selecter,
Robert Hood,
David Bowie,
Cheater Slicks,
Black Pus,
Ken Boothe,
Bobby Hutcherson,
X-101,
Ossler,
Lyres,
Drexciya,
New York Dolls,
Connie Case,
Desert Stars,
Brothers Johnson,
Swell Maps,
A Certain Ratio,
Masters at Work,
Mark Hollis,
A Flock of Seagulls,
Super Lover Cee & Casanova Rud,
Major Organ And The Adding Machine,
Bizarre Inc.,
Orchestral Manoeuvres in the Dark,
Sandy B,
Johnny Osbourne,
OOIOO,
Moby Grape,
The Doobie Brothers,
Kenny Larkin,
Rotary Connection,
Whodini,
World's Most,
Amon Düül,
One Last Wish,
The Martian,
Heavy D & The Boyz,
Young Marble Giants,
The Sound,
Quadrant,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.