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 Portugal and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1976.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Lyon 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 Black Flag to the electroclash 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 Brothers Johnson. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Traffic Nightmare,
Loose Ends,
Blossom Toes,
Bill Wells,
Freddie Wadling,
Soft Machine,
The Music Machine,
Marmalade,
Lakeside,
The Searchers,
Nico,
Terry Callier,
Jerry Gold Smith,
Wighnomy Brothers & Robag Wruhme,
The Gun Club,
Pere Ubu,
The Dirtbombs,
Selector Dub Narcotic,
PIL,
Ultra Naté,
Rekid,
Kerrie Biddell,
Drive Like Jehu,
Graham Central Station,
Bang On A Can,
The Chocolate Watch Band,
AZ,
Ponytail,
Lyres,
Bobby Womack,
Tom Boy,
48th St. Collective,
Newcleus,
The United States of America,
The Walker Brothers,
Roxy Music,
The Associates,
Manfred Mann's Earth Band,
Scan 7,
Stetsasonic,
the Slits,
Japan,
Cluster,
The Black Dice,
John Holt,
Gang Gang Dance,
Thee Headcoats,
James Chance & The Contortions,
Harpers Bizarre,
U.S. Maple,
Junior Murvin,
Spoonie Gee,
Blancmange,
B.T. Express,
Sticky Fingaz feat. Raekwon,
Jandek,
Chris & Cosey,
10cc,
Stiv Bators,
Das Ding,
Thinking Fellers Union Local 282,
Second Layer,
Animal Collective,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.