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 New Zealand and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1977.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 clarinet 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 Animal Collective to the dance kids.
I played it at the Troubador.
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 Martian. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Donny Hathaway 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
The Red Krayola,
Maurizio,
Rod Modell,
Popol Vuh,
Kenny Larkin,
Panda Bear,
Charles Mingus,
The Stooges,
Gil Scott Heron,
The Victims,
Gang Gang Dance,
Liliput,
Simply Red,
Siouxsie and the Banshees,
L. Decosne,
These Immortal Souls,
Archie Shepp,
Sun City Girls,
The Busters,
Matthew Bourne,
Magazine,
Wasted Youth,
Neu!,
Sound Behaviour,
In Retrospect,
Wally Richardson,
B.T. Express,
Public Image Ltd.,
Agitation Free,
Quantec,
The Slits,
X-101,
Soft Cell,
Scientists,
Eurythmics,
8 Eyed Spy,
Rites of Spring,
MC5,
Anthony Braxton,
Negative Approach,
The Beau Brummels,
Red Lorry Yellow Lorry,
Alice Coltrane,
Josef K,
Grauzone,
Technova,
Model 500,
Dual Sessions,
Neil Young,
Anakelly,
Pantytec,
Crispy Ambulance,
Jerry's Kids,
The Music Machine,
Nas,
Grey Daturas,
John Holt,
World's Most,
Tim Buckley,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.