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 Micronesia and from Johannesburg.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Lagos.
I'm losing my edge to the art-school Lyon 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 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 Letta Mbulu to the punk kids.
I played it at the 40 Watt.
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 Bill Near. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
The Remains,
Matthew Bourne,
The Names,
The Martian,
Oppenheimer Analysis,
Main Source,
Prince Buster,
Deepchord,
the Normal,
Bill Wells,
The J.B.'s,
Eddi Front,
Selector Dub Narcotic,
Sonic Youth,
Flipper,
The Cosmic Jokers,
Sparks,
Joyce Sims,
Animal Collective,
Ossler,
Maurizio,
Kango’s Stein Massive,
Ronnie Foster,
Ultravox,
T. Rex,
Davy DMX,
Charles Mingus,
Michelle Simonal,
Gong,
Crime,
Camron Feat. Memphis Bleek And Beenie Seigel,
Teenage Jesus and the Jerks,
Iggy Pop,
Man Eating Sloth,
Interpol,
The Men They Couldn't Hang,
Hashim,
China Crisis,
Marine Girls,
B.T. Express,
Fear,
Louis and Bebe Barron,
Robert Wyatt,
The Peanut Butter Conspiracy,
The Invisible,
Boogie Down Productions,
Brand Nubian,
Pole,
Youth Brigade,
Art Ensemble Of Chicago,
Carl Craig,
Tubeway Army,
Au Pairs,
The Blackbyrds,
Bang On A Can,
Dark Day,
Kings Of Tomorrow,
Barry Ungar,
The Misunderstood,
Vaughan Mason & Crew,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.