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 Paraguay and from Bremen.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Motorama to the crunk kids.
I played it at the Spitz.
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 Sarah Menescal. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ossler record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Chrome,
The Skatalites,
Sister Nancy,
The Slackers,
Dark Day,
Leonard Cohen,
Chris & Cosey,
Grauzone,
The Cramps,
Groovy Waters,
Suicide,
Nik Kershaw,
X-Ray Spex,
Kas Product,
Radiopuhelimet,
Schoolly D,
Sun Ra Arkestra,
Ludus,
Sällskapet,
Flipper,
Blancmange,
Ultra Naté,
The Standells,
Sparks,
Deadbeat,
Bobbi Humphrey,
Girls At Our Best!,
Camouflage,
These Immortal Souls,
Tom Boy,
The Busters,
Oppenheimer Analysis,
Flamin' Groovies,
DeepChord presents Echospace,
Crispian St. Peters,
Con Funk Shun,
The Fall,
Marcia Griffiths,
Bootsy Collins,
Howard Jones,
Electric Light Orchestra,
Colin Newman,
Eli Mardock,
Gang of Four,
Tim Buckley,
Rotary Connection,
Severed Heads,
the Fania All-Stars,
Byron Stingily,
The Toasters,
Cluster,
The Names,
Jerry Gold Smith,
Newcleus,
Sound Behaviour,
Albert Ayler,
The Fugs,
Red Lorry Yellow Lorry,
Sam Rivers,
Brand Nubian,
Arthur Verocai,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.