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 Czech Republic and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Bologna and London.
I'm losing my edge to the art-school Tehran 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 synthesizer 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 Jacques Brel to the crunk 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 Suburban Knight. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Gang Gang Dance,
Duran Duran,
Qualms,
The Electric Prunes,
Adolescents,
The Monks,
Y Pants,
James White and The Blacks,
The Fortunes,
Shoche,
E-Dancer,
Captain Beefheart & His Magic Band,
Interpol,
Young Marble Giants,
48th St. Collective,
Notorious BIG live in Amsterdam,
Bobby Hutcherson,
Supertramp,
Marine Girls,
Little Man,
Jeff Mills,
Neil Young,
Yellowson,
Marc Almond,
Grandmaster Flash and the Furious Five,
Ponytail,
Ralphi Rosario,
Absolute Body Control,
Cecil Taylor,
Siglo XX,
Scratch Acid,
Bad Manners,
The Count Five,
Flamin' Groovies,
Nas,
The Red Krayola,
Chris Corsano,
Minnie Riperton,
Unrelated Segments,
The Pretty Things,
Notorious Big And Bone Thugs,
Audionom,
Pete Rock & C.L. Smooth,
Electric Light Orchestra,
X-101,
Gil Scott-Heron and Jamie xx,
Quantec,
Siouxsie and the Banshees,
Magma,
Roy Ayers,
Ultravox,
Lalo Schifrin,
Bluetip,
La Düsseldorf,
Johnny Clarke,
Lou Reed & John Cale,
Todd Terry,
Oneida,
Fad Gadget,
Electric Prunes,
Terry Callier,
LL Cool J,
Buzzcocks,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.