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 Yemen and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Cairo.
I'm losing my edge to the art-school Stockholm 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Hot Snakes to the rock 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 Kurtis Blow. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Laurel Aitken 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Royal Trux record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
John Lydon,
Jacques Brel,
Aural Exciters,
Black Sheep,
the Bar-Kays,
10cc,
Tropical Tobacco,
Bluetip,
Gabor Szabo,
Man Eating Sloth,
The Neon Judgement,
Erasure,
Intrusion,
Vaughan Mason & Crew,
Kurtis Blow,
Joensuu 1685,
Yaz,
Porter Ricks,
Moebius,
Art Ensemble Of Chicago,
The Moleskins,
Panda Bear,
Barry Ungar,
Livin' Joy,
Aloha Tigers,
Stereo Dub,
Gregory Isaacs,
John Cale,
Tres Demented,
R.M.O.,
Gian Franco Pienzio,
Mantronix,
One Last Wish,
Danielle Patucci,
Andrew Hill,
Eyeless In Gaza,
the Germs,
The Durutti Column,
Yazoo,
Derrick May,
Peter and Kerry,
Selector Dub Narcotic,
DeepChord presents Echospace,
Royal Trux,
Trumans Water,
Gong,
Hardrive,
Pierre Henry,
Sexual Harrassment,
Stetsasonic,
The Move,
Kerri Chandler,
Robert Hood,
Swell Maps,
Charles Mingus,
Mr. Review,
Boz Scaggs,
Brick,
Boogie Down Productions,
The Residents,
Smog, Smog, Smog, Smog.
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.