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 Tanzania 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 1960 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Salvador.
I'm losing my edge to the art-school Copenhagen 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 theremin 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 Aural Exciters to the jazz kids.
I played it at the Roxy.
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 Reagan Youth. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
The Smoke,
Super Lover Cee & Casanova Rud,
Archie Shepp,
The Shadows of Knight,
Television,
Angry Samoans,
LL Cool J,
Joensuu 1685,
Red Lorry Yellow Lorry,
Mad Mike,
Iggy Pop,
Franke,
Newcleus,
Jesper Dahlbäck,
Bronski Beat,
Eddi Front,
Sällskapet,
Larry & the Blue Notes,
Can,
Scion,
Soulsonic Force,
Marshall Jefferson,
Little Man,
Pole,
EPMD,
Sexual Harrassment,
Television Personalities,
The Leaves,
Prince Buster,
Desert Stars,
Black Flag,
OOIOO,
Sugar Minott,
Roxette,
Joyce Sims,
Vainqueur,
Duran Duran,
Thompson Twins,
Beasts of Bourbon,
The Associates,
Gregory Isaacs,
Robert Wyatt,
Robert Görl,
Groovy Waters,
Todd Terry,
Drive Like Jehu,
Shoche,
Glenn Branca,
Dual Sessions,
This Heat,
the Fania All-Stars,
Essential Logic,
Skarface,
Icehouse,
The Monochrome Set,
Kenny Larkin,
Spandau Ballet,
The Sisters of Mercy,
The Barracudas,
Radiopuhelimet,
Masters at Work,
Monks, Monks, Monks, Monks.
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.