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 Taiwan and from Houston.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Halifax 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Fluxion to the jazz kids.
I played it at the Crocodile.
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 Susan Cadogan. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Thinking Fellers Union Local 282,
Half Japanese,
Crash Course in Science,
Archie Shepp,
Kerrie Biddell,
Manfred Mann's Earth Band,
Drive Like Jehu,
Avey Tare & Kría Brekkan,
Stetsasonic,
Au Pairs,
The Gun Club,
the Swans,
The Monochrome Set,
New York Dolls,
Saccharine Trust,
the Slits,
James Chance & The Contortions,
Aaron Thompson,
Ponytail,
Girls At Our Best!,
The Tremeloes,
In Retrospect,
The American Breed,
The J.B.'s,
Mandrill,
The Pop Group,
James White and The Blacks,
Colin Newman,
The Fortunes,
Tropical Tobacco,
Joe Finger,
Average White Band,
The Raincoats,
Das Ding,
Main Source,
Essential Logic,
Jerry Gold Smith,
Susan Cadogan,
Bill Near,
Arab on Radar,
The Durutti Column,
The Move,
Eurythmics,
Bronski Beat,
Ituana,
The Stooges,
Moebius,
Maleditus Sound,
Chris Corsano,
Sällskapet,
Sun Ra Arkestra,
The Fire Engines,
The Slits,
The Gladiators,
Soul II Soul,
Icehouse,
Eve St. Jones,
K-Klass,
The Cramps,
Black Moon,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.