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 Montenegro and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1976.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 grime kids.
I played it at the Hacienda.
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 Glenn Branca. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every FM Einheit 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
Grandmaster Flash and the Furious Five,
48th St. Collective,
Flamin' Groovies,
the Human League,
Ralphi Rosario,
Sound Behaviour,
The Sound,
The Shadows of Knight,
The Smiths,
Lucky Dragons,
The Slackers,
Dave Gahan,
The Birthday Party,
Nico,
Y Pants,
Oppenheimer Analysis,
Stetsasonic,
Bluetip,
Pole,
Suburban Knight,
Chris Corsano,
Eli Mardock,
Sonic Youth,
The Electric Prunes,
R.M.O.,
cv313,
Maurizio,
China Crisis,
Radio Birdman,
The Cosmic Jokers,
Neu!,
Hoover,
Bobby Byrd,
The Fire Engines,
Popol Vuh,
Crime,
Skriet,
Marc Almond,
Eve St. Jones,
OOIOO,
The Mojo Men,
Gastr Del Sol,
Kurtis Blow,
Laurel Aitken,
Dennis Brown,
Jandek,
JFA,
Notorious Big And Bone Thugs,
Buzzcocks,
Justin Hinds & The Dominoes,
Quando Quango,
The Leaves,
The Moody Blues,
Motorama,
Mad Mike,
Wolf Eyes,
Visage,
Cymande,
Sight & Sound,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.