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 Ethiopia and from Beijing.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Lagos 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 1984 at the first Arcadia practice in a loft in London.
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 Glenn Branca to the grunge kids.
I played it at the Crocodile.
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 Eyeless In Gaza. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Essential Logic 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Drive Like Jehu,
Soft Machine,
The Invisible,
The Peanut Butter Conspiracy,
Charles Mingus,
Newcleus,
Big Daddy Kane,
Aural Exciters,
Shoche,
Lizzy Mercier Descloux,
China Crisis,
Underground Resistance,
Circle Jerks,
Derrick May,
Stockholm Monsters,
Pagans,
LL Cool J,
Notorious Big And Bone Thugs,
Warsaw,
Neil Young,
Suicide,
Cymande,
Ash Ra Tempel,
Moby Grape,
MC5,
Youth Brigade,
Gong,
Nirvana,
Wolf Eyes,
Robert Görl,
Livin' Joy,
Brass Construction,
Iggy Pop,
Oppenheimer Analysis,
Carl Craig,
Make Up,
Lonnie Liston Smith,
A Flock of Seagulls,
48th St. Collective,
Mad Mike,
The Slackers,
Fad Gadget,
The Grass Roots,
Sight & Sound,
Kayak,
Scion,
Bronski Beat,
The Alarm Clocks,
Chris & Cosey,
Jacques Brel,
Rites of Spring,
Sun Ra,
X-Ray Spex,
The Star Department,
Ralphi Rosario,
Franke,
The Modern Lovers,
Electric Light Orchestra,
Roy Ayers Ubiquity,
The American Breed,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.