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 Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school Salvador 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Gladiators to the disco 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 Jesper Dahlback. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
The Monochrome Set,
Essential Logic,
Black Pus,
Stiv Bators,
The Slackers,
Dead Boys,
Brick,
Traffic Nightmare,
Louis and Bebe Barron,
Prince Buster,
London Community Gospel Choir,
Television,
Sad Lovers and Giants,
Minny Pops,
Soulsonic Force,
The Barracudas,
Spoonie Gee,
Soft Cell,
Stetsasonic,
La Düsseldorf,
Alice Coltrane,
Aaron Thompson,
June of 44,
Fela Kuti,
Magma,
Teenage Jesus and the Jerks,
Super Lover Cee & Casanova Rud,
Nation of Ulysses,
The Move,
The Real Kids,
Nas,
Unwound,
Bush Tetras,
Easy Going,
Soft Machine,
Quando Quango,
Reagan Youth,
Scratch Acid,
8 Eyed Spy,
T. Rex,
Anthony Braxton,
The Kinks,
June Days,
Thee Headcoats,
MC5,
Kauko Röyhkä ja Narttu,
Rod Modell,
The Star Department,
Desert Stars,
Donald Byrd,
James White and The Blacks,
Liliput,
New York Dolls,
Popol Vuh,
Chrome,
Massinfluence,
Nick Fraelich,
Notorious Big And Bone Thugs,
Art Ensemble Of Chicago,
The Wake, The Wake, The Wake, The Wake.
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.