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 Uruguay and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Accra 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Bizarre Inc. to the electroclash kids.
I played it at Trash.
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 Neil Young & Crazy Horse. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Henry Cow,
Bizarre Inc.,
X-101,
Derrick Morgan,
Sound Behaviour,
Sex Pistols,
Aswad,
Hoover,
the Sonics,
Lizzy Mercier Descloux,
Bang On A Can,
The Happenings,
The Count Five,
Wighnomy Brothers & Robag Wruhme,
June of 44,
Gang of Four,
Maurizio,
Magazine,
The Fortunes,
Arab on Radar,
The Black Dice,
Sonny Sharrock,
Cecil Taylor,
Donny Hathaway,
Lee Hazlewood,
Marmalade,
Gerry Rafferty,
Thee Headcoats,
Robert Görl,
Lebanon Hanover,
Curtis Mayfield,
Stockholm Monsters,
Television,
Fifty Foot Hose,
Avey Tare's Slasher Flicks,
Ultra Naté,
Bad Manners,
Essential Logic,
John Coltrane,
David Bowie,
the Bar-Kays,
Masters at Work,
Jimmy McGriff,
Johnny Osbourne,
Eve St. Jones,
Lyres,
Barry Ungar,
Avey Tare,
Eddi Front,
Cluster,
Nick Fraelich,
Matthew Halsall,
Warsaw,
Audionom,
Chrome,
Blossom Toes,
The Durutti Column,
Gil Scott Heron,
DNA,
The Beau Brummels,
Yazoo,
Symarip, Symarip, Symarip, Symarip.
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.