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 Kyrgyzstan and from Madrid.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Pharaoh Sanders and the Fire Engines to the techno kids.
I played it at the Hacienda.
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 Swell Maps. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Metal Thangz,
K-Klass,
Tim Buckley,
The Red Krayola,
The Gun Club,
Gang of Four,
This Heat,
MDC,
Urselle,
Jesper Dahlbäck,
Electric Light Orchestra,
The Selecter,
Schoolly D,
E-Dancer,
Heaven 17,
B.T. Express,
The Move,
World's Most,
Moss Icon,
Lindisfarne,
The Raincoats,
New York Dolls,
The Mojo Men,
One Last Wish,
De La Soul & Jungle Brothers,
Pantaleimon,
Nik Kershaw,
Man Eating Sloth,
Rhythm & Sound,
Barclay James Harvest,
Fear,
Faraquet,
Tom Boy,
the Association,
Laurel Aitken,
the Slits,
Bobby Hutcherson,
Althea and Donna,
Scott Walker + Sunn O))),
Rahsaan Roland Kirk,
Lizzy Mercier Descloux,
The Doors,
James Chance & The Contortions,
Quadrant,
Los Fastidios,
Sexual Harrassment,
Babytalk,
Colin Newman,
Alton Ellis,
Sound Behaviour,
Lucky Dragons,
Amon Düül,
Vainqueur,
Art Ensemble Of Chicago,
T. Rex,
Swell Maps,
Throbbing Gristle,
Sight & Sound,
Q65,
Goldenarms,
The United States of America,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.