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 Botswana and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Shanghai and Woodstock.
I'm losing my edge to the art-school Lille 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 spring reverb 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 James White and The Blacks to the grime 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 Spandau Ballet. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Boz Scaggs,
Johnny Osbourne,
Monks,
David McCallum,
Arab on Radar,
Joensuu 1685,
Siouxsie and the Banshees,
Dark Day,
Quadrant,
Harry Pussy,
Hot Snakes,
Black Flag,
Man Parrish,
La Düsseldorf,
Traffic Nightmare,
Animal Collective,
Parry Music,
Reagan Youth,
Mo-Dettes,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Swans,
Bizarre Inc.,
Ponytail,
Grandmaster Flash and the Furious Five,
Urselle,
Sound Behaviour,
One Last Wish,
Loose Ends,
The Cramps,
DJ Sneak,
The Remains,
Kool G Rap & DJ Polo,
Half Japanese,
The Selecter,
Drive Like Jehu,
Zapp,
Morten Harket,
The Beau Brummels,
Deepchord,
Lightning Bolt,
Aaron Thompson,
Joy Division,
The Martian,
Ultramagnetic MC's,
Ornette Coleman,
The United States of America,
Visage,
the Soft Cell,
Ralphi Rosario,
Gary Puckett & The Union Gap,
The Jesus and Mary Chain,
Gian Franco Pienzio,
Hashim,
Tres Demented,
Kenny Larkin,
Pagans,
a-ha,
Aswad,
Boogie Down Productions,
Flipper,
Desert Stars,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.