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 Philippines and from Madrid.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Manila and Salvador.
I'm losing my edge to the art-school Spokane 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 clarinet 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 Barry Ungar to the electroclash 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 Erykah Badu. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
The Associates,
Fatback Band,
Marvin Gaye,
Eyeless In Gaza,
Gerry Rafferty,
Marine Girls,
Animal Collective,
The Birthday Party,
Pierre Henry,
OOIOO,
The Monochrome Set,
Buzzcocks,
Oblivians,
Minny Pops,
This Heat,
Quando Quango,
The Toasters,
Pharaoh Sanders and the Fire Engines,
The Saints,
Depeche Mode,
Sun Ra,
kango's stein massive,
Slick Rick,
Johnny Osbourne,
The Residents,
Echo & the Bunnymen,
Easy Going,
Cal Tjader,
Fat Boys,
Colin Newman,
Qualms,
Massinfluence,
JFA,
Harmonia,
Max Romeo,
Bang on a Can All-Stars,
The Golliwogs,
The Count Five,
Junior Murvin,
Arthur Verocai,
Wings,
Throbbing Gristle,
Pete Rock & C.L. Smooth,
The Misunderstood,
Selector Dub Narcotic,
Crispy Ambulance,
A Certain Ratio,
U.S. Maple,
The Index,
The Barracudas,
Gabor Szabo,
Sex Pistols,
Black Pus,
Morten Harket,
Ponytail,
John Holt,
The Dave Clark Five,
John Foxx,
the Sonics,
Brothers Johnson,
Bobby Byrd,
Amon Düül,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.