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 Gabon and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Manila and Jakarta.
I'm losing my edge to the art-school Manila 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 spring reverb 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 Arab on Radar to the funk kids.
I played it at the Spitz.
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 Germs. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every the Fania All-Stars 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Erasure,
The Mojo Men,
Japan,
Tres Demented,
Drexciya,
Derrick Morgan,
Gastr Del Sol,
Robert Hood,
Sugar Minott,
Crash Course in Science,
John Coltrane,
The Selecter,
Pantaleimon,
Suicide,
Teenage Jesus and the Jerks,
Audionom,
Soft Cell,
Accadde A,
These Immortal Souls,
June Days,
Matthew Halsall,
Gil Scott-Heron and Jamie xx,
Deakin,
Jesper Dahlback,
Don Cherry,
Blossom Toes,
Lizzy Mercier Descloux,
The Beau Brummels,
Stockholm Monsters,
Hasil Adkins,
Grandmaster Flash and the Furious Five,
Duran Duran,
Dorothy Ashby,
Darondo,
Excepter,
The Evens,
Dead Boys,
Sandy B,
New Age Steppers,
Man Eating Sloth,
The Flesh Eaters,
Loose Ends,
Eric B and Rakim,
Arcadia,
Terror Squad Feat. Camron,
Pole,
Porter Ricks,
Derrick May,
Cabaret Voltaire,
Peter and Kerry,
Das Ding,
Livin' Joy,
Fifty Foot Hose,
Rotary Connection,
The Pretty Things,
Bluetip,
Funkadelic,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.