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 Togo and from Jakarta.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
I'm losing my edge to the art-school Tehran 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 oboe sounds with much patience.
I was there when Lou Reed 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 DNA to the rap kids.
I played it at the Spitz.
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 Nik Kershaw. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Rapeman 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 '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Sun City Girls,
X-101,
Donald Byrd,
Kool Moe Dee,
Grandmaster Flash,
Bad Manners,
Tommy Roe,
Schoolly D,
Gregory Isaacs,
The Monochrome Set,
Leonard Cohen,
PIL,
Bill Near,
The Cowsills,
The Fugs,
Audionom,
Strawberry Alarm Clock,
Bob Dylan,
Echo & the Bunnymen,
Ituana,
Marmalade,
Siglo XX,
Lucky Dragons,
Barbara Tucker,
Whodini,
Sonny Sharrock,
Das Ding,
Stockholm Monsters,
Electric Light Orchestra,
Traffic Nightmare,
Carl Craig,
Roy Ayers,
Cheater Slicks,
London Community Gospel Choir,
Eric B and Rakim,
Aloha Tigers,
James Chance & The Contortions,
Gian Franco Pienzio,
Wighnomy Brothers & Robag Wruhme,
Lindisfarne,
The Star Department,
Crispian St. Peters,
Ralphi Rosario,
Manfred Mann's Earth Band,
Kool G Rap & DJ Polo,
Buzzcocks,
Country Joe & The Fish,
Saccharine Trust,
Derrick May,
Max Romeo,
The Associates,
The Gories,
These Immortal Souls,
Outsiders,
Cymande,
Gang Green,
Delta 5,
Bizarre Inc.,
Jandek,
Sun Ra Arkestra,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.