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 Burundi and from Winnipeg.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
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 808 sounds with much patience.
I was there when Holger Czukay 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 KRS-One to the rock 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 David Bowie. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Stockholm Monsters 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 '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Deepchord,
Donald Byrd,
CMW,
Gary Puckett & The Union Gap,
Little Man,
Cheater Slicks,
The Fire Engines,
Dead Boys,
The Mummies,
Interpol,
Skarface,
Matthew Halsall,
Basic Channel,
Siglo XX,
Sonny Sharrock,
Jesper Dahlback,
PIL,
Maleditus Sound,
FM Einheit,
Pharaoh Sanders and the Fire Engines,
Lou Reed & John Cale,
10cc,
Radiohead,
Zero Boys,
Pylon,
Harry Pussy,
Robert Görl,
The Knickerbockers,
Mark Hollis,
Rhythm & Sound,
Excepter,
The Cure,
Avey Tare & Kría Brekkan,
Niagra,
Wolf Eyes,
Scott Walker,
Country Joe & The Fish,
Mary Jane Girls,
Dark Day,
Bang On A Can,
Cal Tjader,
Con Funk Shun,
Aloha Tigers,
Eli Mardock,
Lindisfarne,
Audionom,
Eddi Front,
Ralphi Rosario,
Fat Boys,
Cabaret Voltaire,
Procol Harum,
The Human League,
Gerry Rafferty,
Pantaleimon,
Yellowson,
Soul II Soul,
Nick Fraelich,
The Flesh Eaters,
Masters at Work,
The Misunderstood,
Bad Manners,
Loose Ends,
Cluster, Cluster, Cluster, Cluster.
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.