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 Russia and from Accra.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school London 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 David Bowie 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 Red Lorry Yellow Lorry 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 Nirvana. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Quando Quango record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Bobby Sherman,
Wighnomy Brothers & Robag Wruhme,
Rowland S Howard / Lydia Lunch,
Blossom Toes,
Ossler,
Amon Düül II,
Be Bop Deluxe,
Warren Ellis,
Lindisfarne,
Fad Gadget,
Isaac Hayes,
The New Christs,
Michelle Simonal,
Dr. Dre and Snoop Doggy Dog,
Ken Boothe,
Alphaville,
Super Lover Cee & Casanova Rud,
Pierre Henry,
Skaos,
The Martian,
Sexual Harrassment,
Bootsy's Rubber Band,
Rotary Connection,
Echo & the Bunnymen,
Brothers Johnson,
T.S.O.L.,
DNA,
Jacques Brel,
Bang on a Can All-Stars,
Yazoo,
Con Funk Shun,
Nico,
Glambeats Corp.,
T. Rex,
Radiopuhelimet,
Yellowson,
Scientists,
Terrestrial Tones,
Quando Quango,
Intrusion,
Cheater Slicks,
Au Pairs,
Spandau Ballet,
Bizarre Inc.,
Jeru the Damaja,
Tom Boy,
Reuben Wilson,
Joensuu 1685,
Pere Ubu,
Anthony Braxton,
The Birthday Party,
Sunsets and Hearts,
R.M.O.,
Kool G Rap & DJ Polo,
Tears for Fears,
Lou Christie,
Susan Cadogan,
Pole,
Simply Red,
Boogie Down Productions,
Kaleidoscope,
Second Layer, Second Layer, Second Layer, Second Layer.
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.