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 Peru and from Milan.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Woodstock 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 Lou Reed 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 The Busters 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 Hasil Adkins. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Faust 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
The Golliwogs,
The Saints,
Shuggie Otis,
Kerrie Biddell,
Oppenheimer Analysis,
Kurtis Blow,
Bootsy's Rubber Band,
Pole,
John Coltrane,
Absolute Body Control,
The Durutti Column,
Scratch Acid,
Harmonia,
Siouxsie and the Banshees,
Adolescents,
Hardrive,
Wire,
Roxy Music,
Index,
Stetsasonic,
The Martian,
The Sound,
Rapeman,
Procol Harum,
Radiohead,
The Names,
Gang Green,
Sugar Minott,
Gong,
The Remains,
Camouflage,
Gil Scott-Heron and Jamie xx,
The Residents,
Piero Umiliani,
Young Marble Giants,
Black Bananas,
The Divine Comedy,
Scan 7,
Barry Ungar,
Sunsets and Hearts,
Make Up,
The Fugs,
Tim Buckley,
These Immortal Souls,
Kaleidoscope,
The Motions,
The Knickerbockers,
Tom Boy,
Maleditus Sound,
Rekid,
The Grass Roots,
Nick Fraelich,
Agitation Free,
Marvin Gaye,
Thee Headcoats,
Oneida,
Sex Pistols,
Desert Stars,
Delta 5,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.