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 Ecuador and from Sao Paulo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Paris and Edmonton.
I'm losing my edge to the art-school Mumbai 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Carl Craig 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 Cameo. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Sight & Sound 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 '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Q65,
Avey Tare's Slasher Flicks,
The Buckinghams,
Easy Going,
Be Bop Deluxe,
Bobby Womack,
The Trojans,
Angels of Light & Akron/Family,
Jawbox,
Kayak,
John Holt,
Crash Course in Science,
Camberwell Now,
The Toasters,
ABC,
Robert Hood,
Manfred Mann's Earth Band,
Rufus Thomas,
Alphaville,
UT,
Dave Gahan,
KRS-One,
Glenn Branca,
Skaos,
Danielle Patucci,
Tres Demented,
The Stooges,
Parry Music,
Can,
Minutemen,
Bobbi Humphrey,
Franke,
Soft Cell,
Main Source,
Radio Birdman,
Lungfish,
Schoolly D,
Bill Wells,
Stockholm Monsters,
Lizzy Mercier Descloux,
Amazonics,
Tubeway Army,
Arcadia,
Siouxsie and the Banshees,
Scratch Acid,
Minor Threat,
The Electric Prunes,
Oppenheimer Analysis,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Dual Sessions,
Marvin Gaye,
Larry & the Blue Notes,
The Human League,
Agitation Free,
The Standells,
Traffic Nightmare,
Robert Wyatt,
Ultimate Spinach,
Electric Prunes,
Slave,
The Techniques, The Techniques, The Techniques, The Techniques.
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.