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 Qatar and from Mexico City.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Jakarta 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 snare sounds with much patience.
I was there when Holger Czukay 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 David Axelrod to the jazz 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 Drexciya. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
La Düsseldorf,
a-ha,
Reagan Youth,
The Moleskins,
Tom Boy,
Vainqueur,
The Misunderstood,
ABC,
Delta 5,
Colin Newman,
Thee Headcoats,
Archie Shepp,
Juan Atkins,
Sällskapet,
The Searchers,
The Beau Brummels,
Fat Boys,
The Count Five,
Camberwell Now,
Andrew Hill,
Flipper,
Spandau Ballet,
Grandmaster Flash and the Furious Five,
Japan,
R.M.O.,
Isaac Hayes,
Jesper Dahlback,
Au Pairs,
Warren Ellis,
Wolf Eyes,
James White and The Blacks,
The Gladiators,
Popol Vuh,
Nas,
John Lydon,
Ken Boothe,
X-Ray Spex,
10cc,
the Germs,
Todd Terry,
Basic Channel,
Anakelly,
Liaisons Dangereuses,
Depeche Mode,
Dual Sessions,
Skarface,
E-Dancer,
Maurizio,
The Monks,
China Crisis,
Desert Stars,
Suicide,
Eric Copeland,
Marine Girls,
The Trojans,
T.S.O.L.,
Youth Brigade,
The Barracudas,
Scott Walker + Sunn O))),
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.