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 Laos 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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Interpol to the electroclash kids.
I played it at the Astoria.
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 the Human League. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Suicide 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
The Durutti Column,
Kings Of Tomorrow,
Eddi Front,
The Leaves,
Soft Machine,
Boogie Down Productions,
Buzzcocks,
Notorious Big And Bone Thugs,
The Sisters of Mercy,
Grauzone,
La Düsseldorf,
Andrew Ashong & Theo Parrish,
Blake Baxter,
Teenage Jesus and the Jerks,
Ossler,
U.S. Maple,
Sugar Minott,
John Lydon,
Jawbox,
Rites of Spring,
Mad Mike,
The Barracudas,
Intrusion,
H. Thieme,
Sam Rivers,
Surgeon,
Cymande,
Amazonics,
Fela Kuti,
Super Lover Cee & Casanova Rud,
Don Cherry,
The Misunderstood,
Popol Vuh,
Marvin Gaye,
Grey Daturas,
Bobby Womack,
Funkadelic,
FM Einheit,
The Motions,
Dawn Penn,
Animal Collective,
Hasil Adkins,
Gastr Del Sol,
Jeff Mills,
Alton Ellis,
Hot Snakes,
The Techniques,
The Doors,
June of 44,
Harpers Bizarre,
Ituana,
David Axelrod,
Robert Görl,
Echo & the Bunnymen,
Maleditus Sound,
Idris Muhammad,
The Star Department, The Star Department, The Star Department, The Star Department.
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.