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 Cameroon and from Sao Paulo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Tehran 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet 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 Blake Baxter to the dance 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 Shoche. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Delta 5 record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Main Source,
Oppenheimer Analysis,
Juan Atkins,
Echo & the Bunnymen,
Clear Light,
Ornette Coleman,
Glenn Branca,
Desert Stars,
The Names,
Angels of Light & Akron/Family,
Black Flag,
The Divine Comedy,
Second Layer,
Pharaoh Sanders and the Fire Engines,
Ossler,
Rod Modell,
The Stooges,
The Fuzztones,
The Leaves,
Marcia Griffiths,
Siouxsie and the Banshees,
Intrusion,
Erasure,
Deutsch Amerikanische Freundschaft,
Cymande,
The Barracudas,
David McCallum,
Connie Case,
Moebius,
Letta Mbulu,
Sonny Sharrock,
Agent Orange,
Pulsallama,
Tomorrow,
Iggy Pop,
Magma,
Lyres,
Lou Reed,
Neil Young & Crazy Horse,
Gong,
Spoonie Gee,
Pantytec,
Audionom,
Cal Tjader,
Crime,
Aural Exciters,
T.S.O.L.,
Ultimate Spinach,
Bobby Hutcherson,
Justin Hinds & The Dominoes,
Gian Franco Pienzio,
Isaac Hayes,
Carl Craig,
Derrick Morgan,
Thompson Twins,
Avey Tare,
Hoover,
The American Breed,
Ronan,
Archie Shepp,
Johnny Osbourne,
Mad Mike,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.