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 Tajikistan and from Paris.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Madrid and Calgary.
I'm losing my edge to the art-school Toronto 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 Holger Czukay 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 Stockholm Monsters to the punk 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 Jesus and Mary Chain. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Red Lorry Yellow Lorry,
Liaisons Dangereuses,
Gil Scott Heron,
Bang On A Can,
Porter Ricks,
Bobby Byrd,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Litter,
The Smiths,
Talk Talk,
Outsiders,
Strawberry Alarm Clock,
Harpers Bizarre,
Urselle,
The Flesh Eaters,
L. Decosne,
The Beau Brummels,
Davy DMX,
Patti Smith,
Peter Gordon & Love of Life Orchestra,
The Walker Brothers,
Notorious BIG live in Amsterdam,
Jeff Lynne,
The Raincoats,
Ajijia Myrayebe,
Gerry Rafferty,
Boz Scaggs,
Flash Fearless,
Lyres,
Lebanon Hanover,
Mr. Review,
CMW,
48th St. Collective,
The Gories,
Althea and Donna,
Yusef Lateef,
The Gap Band,
The Evens,
Godley & Creme,
Eden Ahbez,
Boogie Down Productions,
Infiniti,
Sun Ra,
Slick Rick,
Deepchord,
Notorious Big And Bone Thugs,
Siouxsie and the Banshees,
Con Funk Shun,
Avey Tare's Slasher Flicks,
Beasts of Bourbon,
Kayak,
Scott Walker + Sunn O))),
Au Pairs,
The Barracudas,
Harry Pussy,
Crash Course in Science,
Mark Hollis,
Ken Boothe,
The Red Krayola,
Frankie Knuckles,
Black Sheep,
Marmalade, Marmalade, Marmalade, Marmalade.
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.