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 Bosnia Herzegovina and from Mexico City.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 The New Christs to the electroclash kids.
I played it at the Astoria.
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 Agent Orange. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Inner City 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 an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
Minny Pops,
Second Layer,
Black Moon,
Unrelated Segments,
Gerry Rafferty,
The Gun Club,
Gil Scott-Heron and Jamie xx,
Camouflage,
Silicon Teens,
The Dead C,
Glambeats Corp.,
Brothers Johnson,
D'Angelo,
These Immortal Souls,
The Detroit Cobras,
Joyce Sims,
Sparks,
Robert Hood,
Iggy Pop,
Can,
Slave,
Sound Behaviour,
The Music Machine,
Gang Gang Dance,
Mad Mike,
The Peanut Butter Conspiracy,
Pierre Henry,
Slick Rick,
The Zeros,
Soulsonic Force,
Hot Snakes,
Little Man,
Spoonie Gee,
Minor Threat,
Soul Sonic Force,
Bronski Beat,
Jacques Brel,
Goldenarms,
Roxy Music,
Marine Girls,
Funky Four + One,
The Blackbyrds,
Danielle Patucci,
Avey Tare & Kría Brekkan,
Gregory Isaacs,
Johnny Clarke,
Khruangbin,
Harpers Bizarre,
The Alarm Clocks,
Big Daddy Kane,
Pet Shop Boys,
Terrestrial Tones,
Ludus,
Aaron Thompson,
Moebius,
Dennis Brown,
Ultramagnetic MC's,
Zero Boys,
Bootsy Collins,
B.T. Express,
John Holt,
The Sound, The Sound, The Sound, The Sound.
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.