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 Poland and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Philadelphia 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 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 Eyeless In Gaza to the jazz kids.
I played it at the Spitz.
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 The Selecter. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Ultra Naté 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 güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Slave,
Peter Gordon & Love of Life Orchestra,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rhythm & Sound,
Tomorrow,
June of 44,
Intrusion,
Kevin Saunderson,
Todd Rundgren,
Audionom,
The Fire Engines,
Magazine,
Bang On A Can,
Sun City Girls,
Stockholm Monsters,
Marcia Griffiths,
David Bowie,
The Modern Lovers,
Notorious BIG live in Amsterdam,
The Stooges,
Manfred Mann's Earth Band,
K-Klass,
X-Ray Spex,
The Associates,
Con Funk Shun,
Sound Behaviour,
Soul II Soul,
Crooked Eye,
Susan Cadogan,
Royal Trux,
Kings Of Tomorrow,
Dead Boys,
Reuben Wilson,
Captain Beefheart & His Magic Band,
Bang on a Can All-Stars,
Boredoms,
Pantaleimon,
Lizzy Mercier Descloux,
Roger Hodgson,
Kenny Larkin,
Das Ding,
Blossom Toes,
the Fania All-Stars,
Iggy Pop,
Crash Course in Science,
Saccharine Trust,
Jeru the Damaja,
Alice Coltrane,
UT,
Brand Nubian,
Au Pairs,
Deakin,
Jandek,
The Trojans,
One Last Wish,
Excepter,
Rufus Thomas,
Vaughan Mason & Crew,
The Knickerbockers,
The Cure, The Cure, The Cure, The Cure.
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.