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 United Kingdom and from Tehran.
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 Halifax and Hong Kong.
I'm losing my edge to the art-school Bremen 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 oboe 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 Oneida to the techno kids.
I played it at the Crocodile.
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 Red Lorry Yellow Lorry. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Swell Maps,
Liaisons Dangereuses,
Saccharine Trust,
Mo-Dettes,
Accadde A,
Ash Ra Tempel,
Major Organ And The Adding Machine,
Soul II Soul,
Depeche Mode,
The Pretty Things,
Dual Sessions,
Joe Finger,
Kaleidoscope,
The J.B.'s,
Scientists,
Justin Hinds & The Dominoes,
Spoonie Gee,
Lou Christie,
OOIOO,
Nik Kershaw,
Juan Atkins,
Captain Beefheart & His Magic Band,
Basic Channel,
Morten Harket,
Interpol,
Ludus,
Mark Hollis,
The Victims,
Sister Nancy,
X-Ray Spex,
The Flesh Eaters,
Barclay James Harvest,
Liliput,
Sam Rivers,
Visage,
Angels of Light & Akron/Family,
Panda Bear,
Gong,
Von Mondo,
The Music Machine,
Johnny Osbourne,
Brothers Johnson,
The Dave Clark Five,
Radio Birdman,
Eddi Front,
Soft Cell,
Masters at Work,
Warren Ellis,
Sandy B,
the Soft Cell,
Loose Ends,
Lakeside,
The Pop Group,
Lyres,
Robert Hood,
Erasure,
Wally Richardson,
Larry & the Blue Notes,
Glambeats Corp.,
The Gun Club,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.