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 Swaziland and from Houston.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1977.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Stockholm 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 harpsichord 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 the Normal to the rap 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 Spoonie Gee. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
a-ha,
Sam Rivers,
JFA,
Lightning Bolt,
Be Bop Deluxe,
Hasil Adkins,
Barry Ungar,
The Monks,
Parry Music,
Orchestral Manoeuvres in the Dark,
Stetsasonic,
Faraquet,
The Knickerbockers,
The Electric Prunes,
Jesper Dahlback,
AZ,
Lou Reed,
Joy Division,
Judy Mowatt,
KRS-One,
Drive Like Jehu,
Cecil Taylor,
The Black Dice,
Glambeats Corp.,
Silicon Teens,
Danielle Patucci,
Lakeside,
The Men They Couldn't Hang,
U.S. Maple,
Radiohead,
Roy Ayers Ubiquity,
Larry & the Blue Notes,
Amon Düül II,
Scott Walker,
Television,
Smog,
Brass Construction,
Brick,
Bad Manners,
Joey Negro,
48th St. Collective,
Anthony Braxton,
Black Flag,
The Velvet Underground,
Terrestrial Tones,
The Dave Clark Five,
The Young Rascals,
Andrew Ashong & Theo Parrish,
Radiopuhelimet,
Patti Smith,
Second Layer,
Gang Gang Dance,
Tropical Tobacco,
The Motions,
Cameo,
Clear Light,
Agent Orange,
Flipper,
The Evens, The Evens, The Evens, The Evens.
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.