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 Antigua and from Lyon.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Lagos 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 Michael McDonald 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 Ultra Naté to the punk kids.
I played it at CBGB's.
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 Vaughan Mason & Crew. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Aswad,
Ohio Players,
Man Parrish,
Lonnie Liston Smith,
Soul II Soul,
Donald Byrd,
The Music Machine,
Harpers Bizarre,
The Moleskins,
Cabaret Voltaire,
The Royal Family And The Poor,
The Raincoats,
Model 500,
Funkadelic,
Kayak,
Vaughan Mason & Crew,
Bauhaus,
Warren Ellis,
Eve St. Jones,
The Buckinghams,
June Days,
MC5,
the Association,
Boz Scaggs,
The Gap Band,
Marc Romboy vs. Booka Shade,
Avey Tare,
New Age Steppers,
Kauko Röyhkä ja Narttu,
Lungfish,
Warsaw,
Faraquet,
Panda Bear,
Traffic Nightmare,
The Black Dice,
Bobby Womack,
Gang Gang Dance,
Mantronix,
David Bowie,
Teenage Jesus and the Jerks,
UT,
Y Pants,
Henry Cow,
A Flock of Seagulls,
Black Moon,
Jawbox,
Gian Franco Pienzio,
Quando Quango,
Talk Talk,
Pere Ubu,
Andrew Ashong & Theo Parrish,
Q and Not U,
The Fuzztones,
Sticky Fingaz feat. Raekwon,
Letta Mbulu,
Drexciya,
These Immortal Souls,
Crispy Ambulance,
Rufus Thomas,
Joe Smooth,
Glambeats Corp.,
Second Layer, Second Layer, Second Layer, Second Layer.
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.