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 Gabon and from Winnipeg.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Paris.
I'm losing my edge to the art-school Beijing 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 güiro 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 Kurtis Blow to the grime 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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Pussy Galore 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
The West Coast Pop Art Experimental Band,
MDC,
Absolute Body Control,
Reagan Youth,
F. McDonald,
Rhythm & Sound,
Pagans,
Man Parrish,
Jawbox,
Kayak,
Juan Atkins,
Terrestrial Tones,
Gong,
Au Pairs,
The Royal Family And The Poor,
8 Eyed Spy,
Fear,
Thee Headcoats,
The Modern Lovers,
Brass Construction,
Ponytail,
Oblivians,
Morten Harket,
Avey Tare's Slasher Flicks,
Lebanon Hanover,
Matthew Halsall,
The Alarm Clocks,
Scrapy,
Masters at Work,
The Slackers,
Ludus,
Niagra,
Beasts of Bourbon,
MC5,
Frankie Knuckles,
Maurizio,
The Martian,
The Smiths,
Erasure,
Lou Reed,
Scratch Acid,
Cabaret Voltaire,
The Velvet Underground,
The Durutti Column,
Crime,
Lalann,
Pere Ubu,
Yaz,
Lafayette Afro Rock Band,
Derrick May,
Smog,
La Düsseldorf,
Bang on a Can All-Stars,
The Doors,
The Real Kids,
Kauko Röyhkä ja Narttu,
Orchestral Manoeuvres in the Dark,
The Invisible,
The Star Department,
Eddi Front,
The Index, The Index, The Index, The Index.
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.