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 Switzerland and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Taipei and Delhi.
I'm losing my edge to the art-school Seoul 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Fat Boys to the disco kids.
I played it at Trash.
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 The Men They Couldn't Hang. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Kas Product,
The Monochrome Set,
Lonnie Liston Smith,
Susan Cadogan,
Bootsy Collins,
Chrome,
Bang On A Can,
Beasts of Bourbon,
the Germs,
Sugar Minott,
The Dead C,
Nation of Ulysses,
The Shadows of Knight,
Graham Central Station,
48th St. Collective,
Electric Light Orchestra,
Slick Rick,
Soft Cell,
Mad Mike,
K-Klass,
Roxy Music,
Echo & the Bunnymen,
Guru Guru,
The Busters,
Public Enemy,
Moebius,
Oblivians,
Arab on Radar,
Joe Finger,
Wasted Youth,
Alison Limerick,
Heavy D & The Boyz,
James Chance & The Contortions,
June Days,
The Residents,
Shuggie Otis,
Section 25,
Nirvana,
Deadbeat,
The Gun Club,
Country Teasers,
Erykah Badu,
Supertramp,
Porter Ricks,
Kevin Saunderson,
Basic Channel,
The Mummies,
Robert Wyatt,
Ossler,
De La Soul & Jungle Brothers,
The Evens,
Kaleidoscope,
Pagans,
Interpol,
Eve St. Jones,
Idris Muhammad,
Ultimate Spinach,
Andrew Hill,
Index,
Cybotron,
the Normal,
Blake Baxter,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.