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 Libya and from Milan.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Toronto and Delhi.
I'm losing my edge to the art-school Accra 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Gang Starr to the dance kids.
I played it at the Troubador.
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 Flash Fearless. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every The Slackers 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Liliput,
Lucky Dragons,
Blancmange,
Barry Ungar,
Shuggie Otis,
Grey Daturas,
Neil Young,
Minny Pops,
Dawn Penn,
Arcadia,
Pulsallama,
Radiopuhelimet,
Visionaries,LMNO, T- Love & Iriscience,
Roger Hodgson,
The Shadows of Knight,
John Lydon,
Alice Coltrane,
Oppenheimer Analysis,
Heavy D & The Boyz,
Loose Ends,
Funkadelic,
Silicon Teens,
Ash Ra Tempel,
Young Marble Giants,
The American Breed,
Zapp,
Pantytec,
DJ Sneak,
Camron Feat. Jay Z And Juelz,
the Swans,
Frankie Knuckles,
The Motions,
Kango’s Stein Massive,
Juan Atkins,
Minnie Riperton,
World's Most,
Ultra Naté,
The Leaves,
Section 25,
Danielle Patucci,
Underground Resistance,
Kerrie Biddell,
Andrew Ashong & Theo Parrish,
Mission of Burma,
Rites of Spring,
Index,
Johnny Clarke,
Schoolly D,
Art Ensemble Of Chicago,
Qualms,
Steve Hackett,
Suburban Knight,
Jandek,
Marvin Gaye,
The Saints,
Livin' Joy,
Franke,
Symarip,
Make Up,
Dave Gahan,
The Human League, The Human League, The Human League, The Human League.
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.