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 Brazil and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1975.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Black Moon to the electroclash kids.
I played it at the Astoria.
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 Slits. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Steve Hackett 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Liaisons Dangereuses,
The Remains,
Infiniti,
Teenage Jesus and the Jerks,
Pantytec,
The Flesh Eaters,
Crooked Eye,
The Offenders,
Donny Hathaway,
Crime,
Marvin Gaye,
Motorama,
The Motions,
the Fania All-Stars,
Bad Manners,
Rowland S Howard / Lydia Lunch,
Country Joe & The Fish,
Kevin Saunderson,
Inner City,
Young Marble Giants,
the Slits,
Marine Girls,
Stockholm Monsters,
Amon Düül II,
Blossom Toes,
Sly & The Family Stone,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Maleditus Sound,
Schoolly D,
The Blackbyrds,
Minnie Riperton,
EPMD,
The Cowsills,
Freddie Wadling,
Nation of Ulysses,
Jeru the Damaja,
Althea and Donna,
Röyhkä ja Rättö ja Lehtisalo,
Todd Terry,
Alison Limerick,
Boz Scaggs,
Kas Product,
Joe Smooth,
The Martian,
Saccharine Trust,
Black Bananas,
The Pop Group,
The Trojans,
The Sound,
Nick Cave & The Bad Seeds,
Von Mondo,
Quando Quango,
The Dirtbombs,
The Modern Lovers,
The Golliwogs,
Sam Rivers,
Sad Lovers and Giants,
Das Ding,
The New Christs,
Bill Wells,
Rotary Connection,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.