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 Iceland and from Calgary.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Spokane and Toronto.
I'm losing my edge to the art-school Paris 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 EPMD to the grime kids.
I played it at the Astoria.
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 Faraquet. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Peter & Gordon,
Orchestral Manoeuvres in the Dark,
ABBA,
Siglo XX,
Parry Music,
Deadbeat,
Popol Vuh,
Tommy Roe,
John Lydon,
Juan Atkins,
The Toasters,
Au Pairs,
Aural Exciters,
Isaac Hayes,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Womack,
Fifty Foot Hose,
Carl Craig,
Cybotron,
Ultimate Spinach,
Unwound,
Man Parrish,
Blossom Toes,
Heaven 17,
Roy Ayers,
The Move,
Marc Almond,
Aswad,
Lalann,
Royal Trux,
Mantronix,
Interpol,
Lungfish,
Hardrive,
Johnny Osbourne,
The Associates,
Niagra,
Severed Heads,
Panda Bear,
MC5,
Funkadelic,
New Order,
B.T. Express,
Patti Smith,
Adolescents,
Freddie Wadling,
Davy DMX,
DJ Sneak,
Silicon Teens,
Robert Görl,
kango's stein massive,
Quando Quango,
Lightning Bolt,
The Real Kids,
Peter Gordon & Love of Life Orchestra,
The Beau Brummels,
The Young Rascals,
The Neon Judgement,
Eden Ahbez,
Brothers Johnson,
a-ha, a-ha, a-ha, a-ha.
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.