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 Egypt and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school Copenhagen 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 snare sounds with much patience.
I was there when Michael McDonald 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 In Retrospect to the grunge kids.
I played it at the Crocodile.
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 Oppenheimer Analysis. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Alison Limerick 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Beasts of Bourbon,
A Certain Ratio,
Ten City,
Stetsasonic,
Camron Feat. Memphis Bleek And Beenie Seigel,
CMW,
Bauhaus,
The Moody Blues,
Terrestrial Tones,
Frankie Knuckles,
Throbbing Gristle,
La Düsseldorf,
Jeff Mills,
Bill Wells,
Bizarre Inc.,
Sällskapet,
Robert Wyatt,
LL Cool J,
Section 25,
Theoretical Girls,
Funkadelic,
Iggy Pop,
Man Parrish,
The New Christs,
Sight & Sound,
The Cowsills,
Rekid,
Johnny Osbourne,
The Standells,
Al Stewart,
Monks,
New Order,
The Electric Prunes,
The Fugs,
Gang Gang Dance,
London Community Gospel Choir,
The Fall,
Depeche Mode,
Kauko Röyhkä ja Narttu,
Grandmaster Flash,
Harpers Bizarre,
Zero Boys,
Porter Ricks,
Black Bananas,
Cheater Slicks,
Pulsallama,
Zapp,
Icehouse,
Cymande,
Donald Byrd,
Janne Schatter,
Black Moon,
Grandmaster Flash and the Furious Five,
Con Funk Shun,
The Gories,
The Cramps,
The Walker Brothers,
Sugar Minott,
Mandrill,
Television,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.