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 Morocco and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 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 Kerrie Biddell to the crunk kids.
I played it at the Crocodile.
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 Lee Hazlewood. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
The Monks,
The Birthday Party,
Quadrant,
The Fall,
Minnie Riperton,
Eurythmics,
Moebius,
Faraquet,
48th St. Collective,
Terror Squad Feat. Camron,
The Fuzztones,
The Blackbyrds,
Technova,
Groovy Waters,
Janne Schatter,
Faust,
The Jesus and Mary Chain,
MC5,
The Invisible,
Banda Bassotti,
Mars,
Goldenarms,
Matthew Halsall,
Major Organ And The Adding Machine,
Lyres,
The Cure,
Connie Case,
Rotary Connection,
Crime,
Suburban Knight,
Clear Light,
The Vogues,
The Litter,
Stiv Bators,
Traffic Nightmare,
The Slackers,
Gang of Four,
A Certain Ratio,
Hardrive,
Sunsets and Hearts,
Slave,
Gang Gang Dance,
Kings Of Tomorrow,
Lafayette Afro Rock Band,
The Sonics,
The Residents,
Nils Olav,
Aural Exciters,
Bill Near,
The Names,
cv313,
The Index,
Icehouse,
Orchestral Manoeuvres in the Dark,
F. McDonald,
The Moody Blues,
Easy Going,
Kas Product,
Model 500,
Porter Ricks,
Boredoms,
Magazine, Magazine, Magazine, Magazine.
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.