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 Sri Lanka and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school New York 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 linndrum 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 The Cramps to the electroclash kids.
I played it at Cafe Wha.
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 Radiopuhelimet. All the underground hits.
All AZ tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Black Bananas,
Pulsallama,
Popol Vuh,
Liliput,
The Beau Brummels,
The Barracudas,
the Soft Cell,
Circle Jerks,
Intrusion,
Brick,
L. Decosne,
Make Up,
The Martian,
Warsaw,
Dual Sessions,
Derrick Morgan,
X-101,
Delta 5,
Ash Ra Tempel,
Sad Lovers and Giants,
Major Organ And The Adding Machine,
Janne Schatter,
Unrelated Segments,
Radiopuhelimet,
The Chocolate Watch Band,
The Happenings,
Grauzone,
the Slits,
Gang of Four,
Vainqueur,
John Cale,
New Age Steppers,
The Birthday Party,
Masters at Work,
Gerry Rafferty,
Saccharine Trust,
Sexual Harrassment,
Sonny Sharrock,
Siglo XX,
Hardrive,
Ituana,
It's A Beautiful Day,
Isaac Hayes,
Scientists,
Ornette Coleman,
Massinfluence,
Anakelly,
DeepChord presents Echospace,
Hasil Adkins,
Wire,
Bootsy's Rubber Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soft Cell,
Al Stewart,
The Victims,
Chrome,
Matthew Halsall,
Sam Rivers,
Japan,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.