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 Guyana and from Portland.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb 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 Black Dice to the electroclash kids.
I played it at CBGB's.
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 Gastr Del Sol. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every The Cramps 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Andrew Ashong & Theo Parrish,
The Jesus and Mary Chain,
Royal Trux,
Bang on a Can All-Stars,
Traffic Nightmare,
Charles Mingus,
Average White Band,
London Community Gospel Choir,
John Coltrane,
Buzzcocks,
Underground Resistance,
Crash Course in Science,
Jandek,
Porter Ricks,
Lebanon Hanover,
Gil Scott Heron,
Harmonia,
The Cowsills,
De La Soul & Jungle Brothers,
The Detroit Cobras,
Avey Tare,
Jeff Lynne,
Mary Jane Girls,
The Gladiators,
Tim Buckley,
Ken Boothe,
Strawberry Alarm Clock,
Gregory Isaacs,
Soul II Soul,
Deutsch Amerikanische Freundschaft,
Harpers Bizarre,
Gerry Rafferty,
The Moody Blues,
China Crisis,
Ituana,
New York Dolls,
Agent Orange,
Gary Puckett & The Union Gap,
June of 44,
Depeche Mode,
Main Source,
Minnie Riperton,
Rufus Thomas,
X-102,
Index,
Quadrant,
Slave,
Bill Near,
Marshall Jefferson,
Bootsy's Rubber Band,
The Fugs,
Black Sheep,
New Age Steppers,
Jeff Mills,
Surgeon,
Ludus,
Tropical Tobacco,
Marmalade,
Anakelly,
The Birthday Party,
Stiv Bators,
The Gories, The Gories, The Gories, The Gories.
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.