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 Angola and from Glasgow.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Stockholm 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 rhodes 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 The Real Kids to the disco 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 The Dave Clark Five. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every kango's stein massive 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Basic Channel,
Tommy Roe,
Q and Not U,
Black Sheep,
Pharaoh Sanders and the Fire Engines,
Rowland S Howard / Lydia Lunch,
Dark Day,
Arthur Verocai,
Yaz,
Lungfish,
Rhythm & Sound,
Moss Icon,
Lou Christie,
Barry Ungar,
The Skatalites,
The Trojans,
Mark Hollis,
Boogie Down Productions,
OOIOO,
Radiopuhelimet,
Silicon Teens,
David Axelrod,
Roy Ayers Ubiquity,
Tres Demented,
Man Parrish,
Ten City,
The Fugs,
Reagan Youth,
The Fire Engines,
Negative Approach,
DNA,
Pantaleimon,
Beasts of Bourbon,
The Walker Brothers,
Jesper Dahlbäck,
John Coltrane,
Average White Band,
Pere Ubu,
Make Up,
Crash Course in Science,
Stetsasonic,
Kevin Saunderson,
Infiniti,
Slave,
Notorious Big And Bone Thugs,
Grandmaster Flash,
Young Marble Giants,
Selector Dub Narcotic,
The Barracudas,
Marc Almond,
Avey Tare's Slasher Flicks,
Accadde A,
Kings Of Tomorrow,
Lower 48,
The Five Americans,
Ajijia Myrayebe,
Eve St. Jones,
The Jesus and Mary Chain,
Sexual Harrassment,
Marine Girls,
The Cramps,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.