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 Korea South and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Gories to the rock kids.
I played it at Cafe Wha.
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 Isaac Hayes. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Mantronix 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 '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Bobby Byrd,
Robert Hood,
Faust,
Quadrant,
Faraquet,
R.M.O.,
Tim Buckley,
Simply Red,
Orchestral Manoeuvres in the Dark,
Connie Case,
Morten Harket,
Richard Hell and the Voidoids,
Lindisfarne,
Jimmy McGriff,
Half Japanese,
Davy DMX,
Ronnie Foster,
The Busters,
Eric B and Rakim,
New York Dolls,
Scion,
The Smoke,
Pharoah Sanders,
The Gap Band,
Gil Scott-Heron and Jamie xx,
Aswad,
the Soft Cell,
Arcadia,
The Associates,
Quantec,
Bang On A Can,
Marmalade,
The Names,
Spoonie Gee,
Camberwell Now,
Warren Ellis,
Bill Near,
The Sonics,
Minnie Riperton,
Cameo,
Angels of Light & Akron/Family,
Aaron Thompson,
Q65,
Josef K,
Slave,
Mandrill,
Gabor Szabo,
Vainqueur,
The Doobie Brothers,
Avey Tare,
Man Eating Sloth,
Blake Baxter,
Mark Hollis,
A Flock of Seagulls,
Moby Grape,
Colin Newman,
KRS-One,
Talk Talk,
Matthew Bourne,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.