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 Seychelles and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Calgary 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Teenage Jesus and the Jerks to the dance kids.
I played it at the Roxy.
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 Pierre Henry. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
the Swans,
Parry Music,
Kauko Röyhkä ja Narttu,
The Misunderstood,
Young Marble Giants,
Dual Sessions,
Second Layer,
Slave,
The Fire Engines,
Pharaoh Sanders and the Fire Engines,
Delon & Dalcan,
Ultravox,
Nas,
the Human League,
The Alarm Clocks,
Major Organ And The Adding Machine,
Japan,
Jerry Gold Smith,
Bobby Sherman,
Aloha Tigers,
Mandrill,
Lou Reed,
X-Ray Spex,
R.M.O.,
The Doors,
Stiv Bators,
Matthew Halsall,
Gong,
Soul Sonic Force,
Fear,
Eric Dolphy,
The Grass Roots,
The Remains,
The Neon Judgement,
Wire,
Jesper Dahlbäck,
Scrapy,
Rekid,
Black Flag,
the Soft Cell,
Kevin Saunderson,
Y Pants,
Heavy D & The Boyz,
Tropical Tobacco,
Davy DMX,
Frankie Knuckles,
Glenn Branca,
Wasted Youth,
Suburban Knight,
Ash Ra Tempel,
Terry Callier,
DNA,
New York Dolls,
The Sound,
Todd Terry,
Nico, Nico, Nico, Nico.
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.