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 Zimbabwe and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Winnipeg and Halifax.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 Icehouse to the electroclash kids.
I played it at the Roxy.
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 Mo-Dettes. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin 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 Busters,
Oppenheimer Analysis,
The United States of America,
Ultravox,
Can,
Nik Kershaw,
Soft Cell,
Lee Hazlewood,
Barclay James Harvest,
Pulsallama,
Kaleidoscope,
Little Man,
Tommy Roe,
The Toasters,
Boogie Down Productions,
The Gladiators,
Carl Craig,
The American Breed,
Underground Resistance,
Symarip,
Girls At Our Best!,
Lindisfarne,
Sun Ra Arkestra,
Flamin' Groovies,
Section 25,
Rufus Thomas,
Slave,
The Seeds,
The Black Dice,
Danielle Patucci,
CMW,
Circle Jerks,
Lower 48,
Byron Stingily,
Bobby Sherman,
Camouflage,
Pylon,
Porter Ricks,
Anakelly,
Soulsonic Force,
Neu!,
Niagra,
The Moody Blues,
The Dirtbombs,
Excepter,
The Kinks,
Blancmange,
Khruangbin,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
DeepChord presents Echospace,
Lebanon Hanover,
John Coltrane,
This Heat,
Marine Girls,
Ken Boothe,
Dark Day,
Crime,
New Order,
Althea and Donna,
T. Rex,
Mr. Review,
Crooked Eye,
Roxette,
The Vogues, The Vogues, The Vogues, The Vogues.
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.