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 Burundi and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
I'm losing my edge to the art-school Winnipeg 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 rhodes 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 Qualms to the punk kids.
I played it at CBGB's.
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 X-Ray Spex. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Sun City Girls 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Matthew Bourne,
Delon & Dalcan,
Maurizio,
Black Sheep,
Röyhkä ja Rättö ja Lehtisalo,
Yaz,
Roger Hodgson,
the Association,
David Axelrod,
Japan,
Roy Ayers,
Kevin Saunderson,
Roy Ayers Ubiquity,
Orchestral Manoeuvres in the Dark,
Fluxion,
Neil Young & Crazy Horse,
Audionom,
Pete Rock & C.L. Smooth,
Glenn Branca,
Jesper Dahlback,
Inner City,
Sexual Harrassment,
The Wake,
Magma,
Fela Kuti,
Basic Channel,
Gang Starr,
Anthony Braxton,
The Neon Judgement,
Franke,
Robert Wyatt,
Panda Bear,
Crime,
The Saints,
The Jesus and Mary Chain,
Kurtis Blow,
Barclay James Harvest,
Janne Schatter,
Cluster,
The Flesh Eaters,
Mission of Burma,
Animal Collective,
Kings Of Tomorrow,
Supertramp,
Freddie Wadling,
James Chance & The Contortions,
Rufus Thomas,
Boogie Down Productions,
Big Daddy Kane,
Bluetip,
Howard Jones,
Curtis Mayfield,
Gary Puckett & The Union Gap,
Nation of Ulysses,
Eurythmics,
Tears for Fears,
The Dirtbombs,
Sonny Sharrock,
Bill Wells,
The Count Five,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.