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 Uruguay and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Accra and Woodstock.
I'm losing my edge to the art-school Mexico City 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Trumans Water to the rock kids.
I played it at the Hacienda.
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 Todd Terry. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Peter and Kerry 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Wire,
Pantytec,
Sad Lovers and Giants,
Bizarre Inc.,
Cybotron,
Faust,
The Doors,
Babytalk,
Yazoo,
Hardrive,
DJ Style,
The Angels of Light,
Black Sheep,
DeepChord presents Echospace,
Aswad,
Kaleidoscope,
The Gun Club,
Half Japanese,
Pet Shop Boys,
Sam Rivers,
Lalo Schifrin,
Siglo XX,
Television Personalities,
Bush Tetras,
Juan Atkins,
Max Romeo,
Bang On A Can,
Ohio Players,
Andrew Ashong & Theo Parrish,
Visage,
Erykah Badu,
Crooked Eye,
Zero Boys,
AZ,
H. Thieme,
Stockholm Monsters,
Ultravox,
La Düsseldorf,
Joensuu 1685,
Suburban Knight,
The Velvet Underground,
Fatback Band,
Scrapy,
Johnny Clarke,
Tears for Fears,
Susan Cadogan,
Soulsonic Force,
Whodini,
E-Dancer,
Moebius,
Echospace,
Unwound,
Ossler,
Crispian St. Peters,
Al Stewart,
Leonard Cohen,
Severed Heads,
Orchestral Manoeuvres in the Dark,
Mr. Review,
Banda Bassotti,
Schoolly D,
Ultramagnetic MC's,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.