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 Moldova and from Edmonton.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
I'm losing my edge to the art-school Spokane 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 chamberlin 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 Cabaret Voltaire to the techno kids.
I played it at the Roxy.
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 Marvin Gaye. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every The Count Five 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Ludus,
Man Eating Sloth,
Harmonia,
Tomorrow,
Quando Quango,
Black Flag,
Thee Headcoats,
Hardrive,
Deutsch Amerikanische Freundschaft,
Big Daddy Kane,
Shuggie Otis,
Bang on a Can All-Stars,
Piero Umiliani,
Heavy D & The Boyz,
Charles Mingus,
James Chance & The Contortions,
UT,
Eric Dolphy,
Cheater Slicks,
Rhythim Is Rhythim,
Young Marble Giants,
Saccharine Trust,
Alphaville,
Adolescents,
Man Parrish,
B.T. Express,
Whodini,
Quadrant,
Maleditus Sound,
PIL,
Tommy Roe,
Sällskapet,
Neil Young & Crazy Horse,
Stetsasonic,
The Five Americans,
Alison Limerick,
Kevin Saunderson,
The Smoke,
Reuben Wilson,
Royal Trux,
Amon Düül,
The Cowsills,
Desert Stars,
Super Lover Cee & Casanova Rud,
Moebius,
Gian Franco Pienzio,
Agent Orange,
Kerri Chandler,
Rhythm & Sound,
Silicon Teens,
The Busters,
Funkadelic,
Bluetip,
The Pretty Things,
Eden Ahbez,
Metal Thangz,
Monolake,
The Happenings,
Guru Guru,
Mantronix,
Bush Tetras,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.