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 Mexico and from Paris.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Edmonton 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 snare 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 Dead Boys to the grime kids.
I played it at the Hacienda.
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 Television. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
Nik Kershaw,
Morten Harket,
Max Romeo,
Oneida,
The Happenings,
Jacques Brel,
Minutemen,
Parry Music,
Blossom Toes,
Faust,
Tres Demented,
Avey Tare,
Harry Pussy,
Lonnie Liston Smith,
Sex Pistols,
Throbbing Gristle,
Mission of Burma,
Strawberry Alarm Clock,
The Shadows of Knight,
Kenny Larkin,
Delta 5,
The Raincoats,
Dawn Penn,
Mandrill,
The Wake,
Kauko Röyhkä ja Narttu,
Trumans Water,
Fugazi,
the Bar-Kays,
Marc Almond,
Camron Feat. Memphis Bleek And Beenie Seigel,
New York Dolls,
Animal Collective,
Lightning Bolt,
Charles Mingus,
Fear,
Bobby Hutcherson,
Porter Ricks,
Sad Lovers and Giants,
Newcleus,
Gil Scott Heron,
The Star Department,
The Toasters,
David Bowie,
The Music Machine,
Juan Atkins,
Judy Mowatt,
Nick Fraelich,
Peter and Kerry,
The Sound,
Terry Callier,
Dark Day,
Supertramp,
Selector Dub Narcotic,
The Fall,
Roy Ayers Ubiquity,
Absolute Body Control,
Sixth Finger,
Toni Rubio,
Radiopuhelimet,
Sticky Fingaz feat. Raekwon,
Tomorrow,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.