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 Kyrgyzstan and from Bologna.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
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 theremin sounds with much patience.
I was there when Lou Reed 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 Clear Light to the jazz 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 Jerry's Kids. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Depeche Mode 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 '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Skriet,
Boogie Down Productions,
Zero Boys,
The Doobie Brothers,
the Human League,
Brand Nubian,
Jacques Brel,
Black Sheep,
The Fortunes,
The Durutti Column,
The Sound,
Mars,
Ludus,
Jesper Dahlbäck,
Derrick May,
Oblivians,
Electric Light Orchestra,
Wings,
Agitation Free,
Gary Puckett & The Union Gap,
New Order,
Massinfluence,
48th St. Collective,
Lizzy Mercier Descloux,
Heaven 17,
The Trojans,
Pharaoh Sanders and the Fire Engines,
Hashim,
Ash Ra Tempel,
The Cramps,
Smog,
Juan Atkins,
Monks,
Gian Franco Pienzio,
Barbara Tucker,
Soul II Soul,
Darondo,
Selector Dub Narcotic,
Fat Boys,
Jerry's Kids,
Technova,
Model 500,
Roxy Music,
Buzzcocks,
Todd Terry,
Sister Nancy,
Guru Guru,
The Gories,
Ultravox,
Intrusion,
Ornette Coleman,
The United States of America,
Marc Romboy vs. Booka Shade,
Robert Görl,
The Fugs,
Suicide,
Albert Ayler,
Soulsonic Force,
Morten Harket,
Ten City,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.