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 Switzerland and from Portland.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator 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 Dawn Penn to the electroclash 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 Donald Byrd. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal funk 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 a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Simply Red,
Deakin,
John Holt,
The Saints,
Piero Umiliani,
Zapp,
The Fuzztones,
Mark Hollis,
The Residents,
Au Pairs,
Spoonie Gee,
New York Dolls,
La Düsseldorf,
The Monochrome Set,
Gian Franco Pienzio,
Infiniti,
the Fania All-Stars,
Liliput,
LL Cool J,
Moby Grape,
Aaron Thompson,
David Bowie,
Shuggie Otis,
The Modern Lovers,
Pharaoh Sanders and the Fire Engines,
Tears for Fears,
The Searchers,
Kas Product,
Hashim,
Parry Music,
Marcia Griffiths,
Dave Gahan,
The Dirtbombs,
Interpol,
The Cure,
X-101,
Half Japanese,
the Normal,
The Gap Band,
Stereo Dub,
Black Sheep,
Jesper Dahlbäck,
Bill Near,
Monolake,
Sällskapet,
James Chance & The Contortions,
The Trojans,
Deutsch Amerikanische Freundschaft,
The Knickerbockers,
Man Parrish,
Connie Case,
Joe Smooth,
Pulsallama,
Harpers Bizarre,
Drive Like Jehu,
Arab on Radar,
PIL,
Cecil Taylor,
Soft Cell,
Television,
June Days, June Days, June Days, June Days.
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.