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 Burkina and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Milan and Mumbai.
I'm losing my edge to the art-school Seoul 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 arpeggiator 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 Basic Channel to the electroclash 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 Barry Ungar. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every The Monochrome Set 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 '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Steve Hackett,
Rapeman,
Basic Channel,
Bauhaus,
DJ Style,
Chris & Cosey,
Kayak,
Andrew Hill,
Camron Feat. Memphis Bleek And Beenie Seigel,
Excepter,
Thinking Fellers Union Local 282,
Gong,
Bobby Sherman,
Nas,
Pete Rock & C.L. Smooth,
Mandrill,
Mad Mike,
Hot Snakes,
Public Image Ltd.,
Funkadelic,
Tres Demented,
The West Coast Pop Art Experimental Band,
Chris Corsano,
Flipper,
Quadrant,
The Mummies,
Animal Collective,
Delon & Dalcan,
Q and Not U,
Section 25,
Aural Exciters,
Bang on a Can All-Stars,
Man Eating Sloth,
Adolescents,
Groovy Waters,
Soft Machine,
Charles Mingus,
kango's stein massive,
E-Dancer,
Cluster,
Bronski Beat,
Talk Talk,
Graham Central Station,
Dave Gahan,
Avey Tare & Kría Brekkan,
Fugazi,
The Martian,
Bootsy Collins,
Major Organ And The Adding Machine,
The Wake,
Circle Jerks,
Orchestral Manoeuvres in the Dark,
Warsaw,
Frankie Knuckles,
Grandmaster Flash and the Furious Five,
Lee Hazlewood,
Marvin Gaye,
The Fortunes,
The Invisible, The Invisible, The Invisible, The Invisible.
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.