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 Nigeria and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Taipei 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 marimba 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 Lucky Dragons to the jazz kids.
I played it at the 40 Watt.
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 Boredoms. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Nas,
Susan Cadogan,
Matthew Bourne,
Fifty Foot Hose,
Whodini,
Theoretical Girls,
Minutemen,
L. Decosne,
Major Organ And The Adding Machine,
Chris Corsano,
Johnny Osbourne,
World's Most,
The Moleskins,
The Star Department,
The Jesus and Mary Chain,
Terry Callier,
Eurythmics,
The Detroit Cobras,
Ludus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Heaven 17,
T.S.O.L.,
Arcadia,
Bauhaus,
The Sisters of Mercy,
The Pop Group,
Audionom,
Eddi Front,
Flamin' Groovies,
James White and The Blacks,
Bootsy Collins,
China Crisis,
8 Eyed Spy,
Sixth Finger,
Hasil Adkins,
Joensuu 1685,
Röyhkä ja Rättö ja Lehtisalo,
The Remains,
The Smiths,
Royal Trux,
Monks,
Black Bananas,
Angels of Light & Akron/Family,
Leonard Cohen,
Dorothy Ashby,
The Invisible,
Tommy Roe,
Liliput,
E-Dancer,
Ajijia Myrayebe,
The Cosmic Jokers,
Underground Resistance,
Pole,
Harpers Bizarre,
Mark Hollis,
Larry & the Blue Notes,
Visage,
Von Mondo,
Marc Almond,
Minor Threat,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.