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 Namibia and from Winnipeg.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school Tokyo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator 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 Avey Tare to the grunge 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 Icehouse. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal dance 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 a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Marvin Gaye,
Kool G Rap & DJ Polo,
Blossom Toes,
Gang Starr,
Connie Case,
Lonnie Liston Smith,
Brothers Johnson,
Henry Cow,
Liliput,
Soulsonic Force,
Scott Walker,
Rosa Yemen,
Parry Music,
Stetsasonic,
The Dead C,
Skaos,
Lou Reed & John Cale,
DNA,
The Searchers,
Whodini,
John Foxx,
Larry & the Blue Notes,
Albert Ayler,
The Velvet Underground,
Freddie Wadling,
Roy Ayers,
Inner City,
Saccharine Trust,
Flipper,
Spoonie Gee,
Terry Callier,
The Moleskins,
Zero Boys,
Shuggie Otis,
The Litter,
Hashim,
the Germs,
Deadbeat,
The Leaves,
Grauzone,
Bronski Beat,
Fela Kuti,
Todd Terry,
Absolute Body Control,
the Soft Cell,
Lyres,
The Raincoats,
Soul Sonic Force,
Niagra,
Lightning Bolt,
Interpol,
The Kinks,
Wighnomy Brothers & Robag Wruhme,
Deutsch Amerikanische Freundschaft,
The Walker Brothers,
Todd Rundgren,
Suburban Knight,
Barbara Tucker,
Dave Gahan,
Carl Craig,
Bluetip, Bluetip, Bluetip, Bluetip.
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.