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 Niger and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Seoul.
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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Scott Walker + Sunn O))) to the jazz 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 The Flesh Eaters. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Fat Boys,
Intrusion,
Toni Rubio,
Al Stewart,
Lou Christie,
Crispy Ambulance,
Dark Day,
Liaisons Dangereuses,
The Victims,
Bobby Hutcherson,
The Mummies,
Donny Hathaway,
Fort Wilson Riot,
It's A Beautiful Day,
Country Teasers,
Gian Franco Pienzio,
Archie Shepp,
Lonnie Liston Smith,
The Vogues,
Mandrill,
Black Bananas,
EPMD,
The Wake,
The Cramps,
Kenny Larkin,
Connie Case,
Maurizio,
The Chocolate Watch Band,
Country Joe & The Fish,
Brick,
Second Layer,
The Mighty Diamonds,
Jawbox,
Outsiders,
Amon Düül,
Ludus,
Ralphi Rosario,
Alton Ellis,
Excepter,
Von Mondo,
Unrelated Segments,
Kauko Röyhkä ja Narttu,
Heaven 17,
Sparks,
Minor Threat,
Bluetip,
Bizarre Inc.,
Joe Smooth,
Angry Samoans,
KRS-One,
Niagra,
Art Ensemble Of Chicago,
Soft Cell,
DJ Sneak,
Depeche Mode,
Flamin' Groovies,
Eric Copeland,
The Monks,
The Young Rascals,
Boredoms,
Porter Ricks,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.