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 Uganda and from Sao Paulo.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Qualms to the funk kids.
I played it at the Roxy.
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 Avey Tare & Kría Brekkan. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Ultra Naté 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Robert Hood,
Echospace,
La Düsseldorf,
A Flock of Seagulls,
Warren Ellis,
The Modern Lovers,
London Community Gospel Choir,
The Fuzztones,
T. Rex,
Babytalk,
The Velvet Underground,
Faust,
Skriet,
Danielle Patucci,
Manfred Mann's Earth Band,
Prince Buster,
Cluster,
EPMD,
Graham Central Station,
Excepter,
One Last Wish,
Brothers Johnson,
Con Funk Shun,
The Fugs,
Procol Harum,
Bootsy Collins,
Spandau Ballet,
Sandy B,
Barrington Levy,
The United States of America,
Marc Almond,
Siouxsie and the Banshees,
Lucky Dragons,
ABBA,
Grandmaster Flash,
Newcleus,
Gregory Isaacs,
Agent Orange,
Blossom Toes,
Rod Modell,
ABC,
Sarah Menescal,
Cal Tjader,
Barclay James Harvest,
Qualms,
Sexual Harrassment,
Los Fastidios,
The Music Machine,
Anthony Braxton,
Panda Bear,
Ituana,
Roxette,
Marmalade,
Buzzcocks,
Quadrant,
Slave,
Yaz,
Ohio Players,
Roxy Music,
Sonic Youth,
Desert Stars,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.