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 Micronesia and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 Robert Palmer 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 Echospace to the techno 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 Nico. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Lebanon Hanover,
Cameo,
Connie Case,
Jesper Dahlbäck,
Glambeats Corp.,
Dr. Dre and Snoop Doggy Dog,
The Electric Prunes,
Buzzcocks,
Liliput,
The Music Machine,
Michelle Simonal,
FM Einheit,
Unrelated Segments,
The United States of America,
the Association,
Glenn Branca,
Spoonie Gee,
Technova,
LL Cool J,
Public Image Ltd.,
JFA,
Jacques Brel,
Tom Boy,
K-Klass,
Smog,
The Zeros,
Bill Near,
Peter & Gordon,
Lou Reed & John Cale,
Amazonics,
Kayak,
The Divine Comedy,
Soft Cell,
The Doobie Brothers,
Nation of Ulysses,
Avey Tare,
Alphaville,
L. Decosne,
Bill Wells,
Darondo,
Tres Demented,
Ituana,
Scrapy,
Angry Samoans,
Thinking Fellers Union Local 282,
The Happenings,
The Human League,
Roxy Music,
Second Layer,
Harry Pussy,
The Fuzztones,
AZ,
Clear Light,
Juan Atkins,
Adolescents,
Deakin,
The Martian,
Pantytec,
Teenage Jesus and the Jerks,
The Motions,
Davy DMX,
Little Man,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.