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 Comoros and from Manchester.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and Johannesburg.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Crooked Eye to the techno 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 Mad Mike. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Bobbi Humphrey 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Kayak,
The West Coast Pop Art Experimental Band,
Orchestral Manoeuvres in the Dark,
Big Daddy Kane,
Radiopuhelimet,
Arthur Verocai,
Bobby Hutcherson,
Minor Threat,
Stockholm Monsters,
New Age Steppers,
Strawberry Alarm Clock,
The United States of America,
The Jesus and Mary Chain,
Drive Like Jehu,
Circle Jerks,
MDC,
Gang Starr,
Kauko Röyhkä ja Narttu,
Marmalade,
The Raincoats,
Joensuu 1685,
Massinfluence,
Robert Hood,
Bootsy's Rubber Band,
Ultimate Spinach,
Kool Moe Dee,
K-Klass,
Albert Ayler,
the Human League,
Tres Demented,
The Selecter,
Larry & the Blue Notes,
Kango’s Stein Massive,
Sam Rivers,
Josef K,
Wighnomy Brothers & Robag Wruhme,
Rod Modell,
The Toasters,
Isaac Hayes,
Beasts of Bourbon,
DJ Style,
CMW,
Nico,
Moby Grape,
Sight & Sound,
Joy Division,
Maleditus Sound,
Roy Ayers Ubiquity,
Young Marble Giants,
Public Image Ltd.,
A Flock of Seagulls,
Angry Samoans,
The Moody Blues,
Lungfish,
Cecil Taylor,
The Busters,
The Techniques,
The Flesh Eaters,
Scientists,
The Durutti Column,
Lou Christie,
Mr. Review,
KRS-One, KRS-One, KRS-One, KRS-One.
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.