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 Finland and from Edmonton.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Calgary and Lyon.
I'm losing my edge to the art-school Columbus 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 chamberlin 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 Rufus Thomas to the funk kids.
I played it at the Troubador.
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 Crispian St. Peters. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Robert Hood,
Echospace,
Pulsallama,
Youth Brigade,
Lou Reed & John Cale,
Slave,
Infiniti,
Drexciya,
Unwound,
Roxette,
Joe Finger,
Scan 7,
Marmalade,
the Slits,
Simply Red,
Sonic Youth,
Ultravox,
The Black Dice,
Liaisons Dangereuses,
Khruangbin,
Tears for Fears,
Kauko Röyhkä ja Narttu,
the Germs,
The Royal Family And The Poor,
Procol Harum,
Television Personalities,
Yazoo,
The Pop Group,
Lizzy Mercier Descloux,
Robert Görl,
Scion,
Jacques Brel,
Maleditus Sound,
Eli Mardock,
Nick Cave & The Bad Seeds,
Sexual Harrassment,
Mr. Review,
Terry Callier,
Zapp,
Camouflage,
Black Bananas,
Kayak,
Flipper,
Notorious BIG live in Amsterdam,
Boogie Down Productions,
Jawbox,
KRS-One,
Rosa Yemen,
Boredoms,
Black Sheep,
Thinking Fellers Union Local 282,
Hot Snakes,
These Immortal Souls,
Audionom,
The Names,
The Cure,
The Smoke,
The Offenders,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.