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 Samoa and from Bremen.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1965 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Delhi 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 mellotron 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 The Men They Couldn't Hang to the grunge kids.
I played it at the 40 Watt.
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 Pantaleimon. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Max Romeo,
Livin' Joy,
the Slits,
Roy Ayers Ubiquity,
Tropical Tobacco,
Fat Boys,
Ralphi Rosario,
Lower 48,
KRS-One,
Lonnie Liston Smith,
Average White Band,
Au Pairs,
The Dead C,
Donny Hathaway,
Tim Buckley,
a-ha,
The Jesus and Mary Chain,
Marine Girls,
Lucky Dragons,
The Gories,
Matthew Halsall,
Dennis Brown,
Yellowson,
The Grass Roots,
Technova,
Rufus Thomas,
Accadde A,
Country Teasers,
X-102,
Blossom Toes,
Deakin,
The United States of America,
Animal Collective,
the Germs,
Bad Manners,
June Days,
Gong,
Piero Umiliani,
Magazine,
The Pop Group,
The Beau Brummels,
Anthony Braxton,
The Gap Band,
Janne Schatter,
Theoretical Girls,
Cybotron,
Joe Smooth,
Interpol,
The Martian,
Newcleus,
Japan,
The Saints,
Sex Pistols,
The Music Machine,
Boredoms,
The Alarm Clocks,
The Offenders,
Michelle Simonal,
Ronan,
Trumans Water,
Porter Ricks,
World's Most,
Cameo, Cameo, Cameo, Cameo.
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.