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 Belarus and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Cairo 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 linndrum 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 The Mummies to the rap kids.
I played it at the Troubador.
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 Be Bop Deluxe. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
JFA,
Rufus Thomas,
Rod Modell,
Gang Starr,
The Golliwogs,
Warsaw,
Slave,
Easy Going,
The Index,
Gian Franco Pienzio,
Peter and Kerry,
Skarface,
Shuggie Otis,
Joe Smooth,
Jesper Dahlbäck,
Connie Case,
Qualms,
This Heat,
Moebius,
Adolescents,
Dawn Penn,
Sun City Girls,
Nik Kershaw,
Arcadia,
The American Breed,
Todd Terry,
Circle Jerks,
Red Lorry Yellow Lorry,
Henry Cow,
The Music Machine,
The Grass Roots,
Fifty Foot Hose,
Aswad,
Oneida,
Lyres,
Jimmy McGriff,
Whodini,
Nick Cave & The Bad Seeds,
Magazine,
The Pop Group,
Mission of Burma,
Lungfish,
Babytalk,
Byron Stingily,
The Cure,
Janne Schatter,
Sun Ra Arkestra,
Nirvana,
The Gun Club,
The Gories,
Avey Tare's Slasher Flicks,
Underground Resistance,
Silicon Teens,
Soft Machine,
Alice Coltrane,
Half Japanese,
The Techniques,
Quando Quango,
The Men They Couldn't Hang,
Eyeless In Gaza,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.