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 Liberia and from Mumbai.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Paris and Tehran.
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 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 Donald Fagen 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 Saccharine Trust to the funk 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 Maurizio. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
World's Most,
48th St. Collective,
the Soft Cell,
Pulsallama,
Thee Headcoats,
Sam Rivers,
The Dead C,
Masters at Work,
Swell Maps,
Siouxsie and the Banshees,
Susan Cadogan,
Mark Hollis,
the Sonics,
Adolescents,
Strawberry Alarm Clock,
Gian Franco Pienzio,
Ralphi Rosario,
Con Funk Shun,
The Offenders,
Pagans,
Fear,
Black Pus,
Public Enemy,
Skarface,
Sällskapet,
Minor Threat,
Au Pairs,
The Sisters of Mercy,
Parry Music,
Unrelated Segments,
Vladislav Delay,
Absolute Body Control,
The Smiths,
The Count Five,
The Gladiators,
Captain Beefheart & His Magic Band,
Soulsonic Force,
E-Dancer,
Cabaret Voltaire,
Neu!,
Dual Sessions,
Silicon Teens,
Kas Product,
Jimmy McGriff,
John Cale,
Underground Resistance,
The Men They Couldn't Hang,
Chris & Cosey,
H. Thieme,
Porter Ricks,
Selector Dub Narcotic,
David McCallum,
The Dirtbombs,
Cymande,
Bauhaus,
Dr. Dre and Snoop Doggy Dog,
Barrington Levy,
Neil Young & Crazy Horse,
Dead Boys,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.