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 Thailand and from New York.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Albert Ayler to the jazz kids.
I played it at the Roxy.
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 Fluxion. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Amon Düül II,
The Divine Comedy,
Bootsy's Rubber Band,
Scientists,
Rhythm & Sound,
Alton Ellis,
The Residents,
Fort Wilson Riot,
H. Thieme,
Crispy Ambulance,
Sight & Sound,
Black Sheep,
Los Fastidios,
The Royal Family And The Poor,
Nick Cave & The Bad Seeds,
Bad Manners,
Public Image Ltd.,
The Buckinghams,
The Sonics,
Man Parrish,
Ultra Naté,
Skarface,
Au Pairs,
JFA,
Moss Icon,
Be Bop Deluxe,
Anakelly,
Ronnie Foster,
Danielle Patucci,
The Motions,
Jacques Brel,
John Cale,
Scratch Acid,
Index,
Andrew Hill,
Ludus,
Sound Behaviour,
Hasil Adkins,
La Düsseldorf,
Agent Orange,
Todd Rundgren,
The Flesh Eaters,
Ponytail,
Gil Scott-Heron & Brian Jackson,
Trumans Water,
The Monks,
Electric Light Orchestra,
Massinfluence,
Parry Music,
Boogie Down Productions,
Rites of Spring,
Super Lover Cee & Casanova Rud,
Soft Machine,
Andrew Ashong & Theo Parrish,
Roy Ayers,
Girls At Our Best!,
Kerri Chandler,
Archie Shepp,
Sly & The Family Stone,
Isaac Hayes,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.