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 Tuvalu and from London.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Milan and Bologna.
I'm losing my edge to the art-school Tehran 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Swell Maps to the rock 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 Man Parrish. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal techno 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 a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
X-101,
the Association,
Beasts of Bourbon,
Bobby Hutcherson,
Pole,
Kenny Larkin,
Jesper Dahlbäck,
Cabaret Voltaire,
Kaleidoscope,
Dawn Penn,
Sam Rivers,
Louis and Bebe Barron,
Gian Franco Pienzio,
Nick Fraelich,
Chris Corsano,
Eyeless In Gaza,
Throbbing Gristle,
Blake Baxter,
Letta Mbulu,
Gary Puckett & The Union Gap,
Anakelly,
Oppenheimer Analysis,
The Dead C,
Schoolly D,
Jerry's Kids,
The Black Dice,
Sugar Minott,
Warsaw,
Altered Images,
CMW,
Connie Case,
cv313,
Dorothy Ashby,
Boredoms,
The Detroit Cobras,
Deadbeat,
Art Ensemble Of Chicago,
Alice Coltrane,
Eurythmics,
E-Dancer,
Sun Ra Arkestra,
Quantec,
Nils Olav,
Roy Ayers,
Pussy Galore,
Wally Richardson,
Minutemen,
Groovy Waters,
Deepchord,
The United States of America,
The Mojo Men,
Mantronix,
Mr. Review,
The American Breed,
Underground Resistance,
Eric B and Rakim,
DeepChord presents Echospace,
The Dirtbombs,
Strawberry Alarm Clock,
Public Image Ltd.,
Babytalk, Babytalk, Babytalk, Babytalk.
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.