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 Austria and from Portland.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Paris 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Mandrill to the punk 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 Stockholm Monsters. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Swans 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Bizarre Inc.,
Thinking Fellers Union Local 282,
The Searchers,
Stockholm Monsters,
Pulsallama,
Ash Ra Tempel,
Notorious Big And Bone Thugs,
Lee Hazlewood,
Hoover,
Audionom,
Lebanon Hanover,
A Flock of Seagulls,
The Chocolate Watch Band,
Curtis Mayfield,
Yaz,
Aloha Tigers,
The West Coast Pop Art Experimental Band,
The Shadows of Knight,
Lindisfarne,
Loose Ends,
Duran Duran,
Main Source,
The Names,
James Chance & The Contortions,
Organ,
Cheater Slicks,
Davy DMX,
Urselle,
Surgeon,
Joy Division,
DNA,
The Slits,
Yusef Lateef,
Mantronix,
Rod Modell,
Sarah Menescal,
Lucky Dragons,
Marine Girls,
The Alarm Clocks,
Eli Mardock,
Bootsy's Rubber Band,
Banda Bassotti,
KRS-One,
Electric Light Orchestra,
Vainqueur,
Juan Atkins,
Kings Of Tomorrow,
H. Thieme,
Super Lover Cee & Casanova Rud,
Joey Negro,
Magazine,
Big Daddy Kane,
Eve St. Jones,
Quantec,
Swans,
Pole,
the Sonics,
Radiopuhelimet,
Kauko Röyhkä ja Narttu,
Barbara Tucker,
The Doors,
Rhythm & Sound,
Average White Band, Average White Band, Average White Band, Average White Band.
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.