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 Denmark and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Columbus 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 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 Glambeats Corp. to the techno kids.
I played it at the Astoria.
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 MC5. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Duran Duran record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
the Soft Cell,
Ralphi Rosario,
Jandek,
Suicide,
Slave,
London Community Gospel Choir,
Excepter,
Los Fastidios,
James White and The Blacks,
Gang Green,
Matthew Bourne,
The Trojans,
The Buckinghams,
Bill Near,
Arcadia,
Strawberry Alarm Clock,
Charles Mingus,
Ossler,
Jimmy McGriff,
Qualms,
Avey Tare's Slasher Flicks,
CMW,
Marshall Jefferson,
Althea and Donna,
The Fortunes,
Radio Birdman,
Barclay James Harvest,
Lyres,
Michelle Simonal,
Sandy B,
Jesper Dahlback,
Faraquet,
The Searchers,
Rhythm & Sound,
Lonnie Liston Smith,
Yusef Lateef,
The Walker Brothers,
Altered Images,
Kauko Röyhkä ja Narttu,
Grandmaster Flash,
Kenny Larkin,
Kerrie Biddell,
The Tremeloes,
The Jesus and Mary Chain,
Siouxsie and the Banshees,
Essential Logic,
Hoover,
Quadrant,
The Blackbyrds,
Marmalade,
Cymande,
Echospace,
The Monochrome Set,
Vladislav Delay,
Quando Quango,
Lightning Bolt,
Gong,
Von Mondo,
Dennis Brown,
David Axelrod,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.