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 United Kingdom and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1977.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Toronto 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Bang On A Can to the grunge 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 DNA. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Scrapy record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Stockholm Monsters,
Sandy B,
Quantec,
Fluxion,
The Cosmic Jokers,
Oblivians,
The West Coast Pop Art Experimental Band,
Public Enemy,
Sun City Girls,
Max Romeo,
The Selecter,
Janne Schatter,
The Alarm Clocks,
The Slits,
David Axelrod,
Selector Dub Narcotic,
Ultimate Spinach,
KRS-One,
Glambeats Corp.,
The Dave Clark Five,
Parry Music,
Howard Jones,
Swell Maps,
D'Angelo,
Blake Baxter,
Faust,
Crash Course in Science,
Stereo Dub,
Patti Smith,
FM Einheit,
Jesper Dahlback,
Reuben Wilson,
Vladislav Delay,
Bill Near,
Oppenheimer Analysis,
Pantaleimon,
Cluster,
Amon Düül II,
Jeff Mills,
the Fania All-Stars,
The Beau Brummels,
Agent Orange,
The Evens,
Country Teasers,
Monolake,
a-ha,
Deutsch Amerikanische Freundschaft,
Marc Almond,
Sparks,
Unrelated Segments,
The Associates,
Juan Atkins,
Lee Hazlewood,
Connie Case,
Bang on a Can All-Stars,
Hardrive,
Symarip,
the Normal,
The Young Rascals,
Alphaville,
Bluetip,
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.