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 St Lucia and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Edmonton and Portland.
I'm losing my edge to the art-school Johannesburg 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 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 Faust to the electroclash kids.
I played it at Cafe Wha.
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 Jacques Brel. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every KRS-One 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Bill Wells,
Echospace,
Wire,
The West Coast Pop Art Experimental Band,
Amazonics,
Kayak,
Crooked Eye,
Camberwell Now,
the Swans,
Harry Pussy,
Terrestrial Tones,
Susan Cadogan,
The Victims,
Goldenarms,
Symarip,
Morten Harket,
D'Angelo,
Lou Reed,
Sun City Girls,
Magma,
Electric Prunes,
DNA,
The Shadows of Knight,
ABC,
Cabaret Voltaire,
X-101,
Hot Snakes,
the Germs,
Man Eating Sloth,
Jawbox,
Idris Muhammad,
Ultra Naté,
John Cale,
Thompson Twins,
Derrick Morgan,
Leonard Cohen,
Radiopuhelimet,
Yellowson,
New Age Steppers,
Outsiders,
The Black Dice,
Sad Lovers and Giants,
Aswad,
Amon Düül II,
Barbara Tucker,
Black Sheep,
Gang Green,
Chris & Cosey,
R.M.O.,
Orchestral Manoeuvres in the Dark,
Glenn Branca,
The Red Krayola,
Visionaries,LMNO, T- Love & Iriscience,
Alice Coltrane,
Super Lover Cee & Casanova Rud,
Rotary Connection,
Albert Ayler,
Oppenheimer Analysis,
The Sound,
Underground Resistance,
Ludus,
Slick Rick,
Scion, Scion, Scion, Scion.
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.