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 Nepal and from Philadelphia.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Paris 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Accadde A to the grime 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 Eric Dolphy. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal grunge 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 arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Q65,
Newcleus,
Essential Logic,
Brass Construction,
Fugazi,
48th St. Collective,
The Monochrome Set,
Gichy Dan,
Interpol,
Lower 48,
Tom Boy,
ABC,
Popol Vuh,
Chris & Cosey,
Bobby Hutcherson,
Barrington Levy,
Captain Beefheart & His Magic Band,
Pylon,
Dual Sessions,
Depeche Mode,
Moby Grape,
The Walker Brothers,
Gabor Szabo,
A Certain Ratio,
Sad Lovers and Giants,
Bronski Beat,
CMW,
Skaos,
Von Mondo,
Terry Callier,
Kango’s Stein Massive,
Motorama,
The Durutti Column,
The Raincoats,
Nation of Ulysses,
The Mighty Diamonds,
Davy DMX,
Slave,
John Lydon,
the Germs,
Johnny Clarke,
Sällskapet,
Deakin,
The Cramps,
Dawn Penn,
Jawbox,
Idris Muhammad,
a-ha,
These Immortal Souls,
Roxette,
The Stooges,
Erykah Badu,
Cameo,
World's Most,
The Buckinghams,
The New Christs,
Fear,
Kauko Röyhkä ja Narttu,
Flamin' Groovies,
Joey Negro,
The Tremeloes,
Blancmange,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.