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 Guatemala and from Edmonton.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Delhi 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 oboe 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 Dirtbombs to the electroclash kids.
I played it at the Roxy.
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 David Axelrod. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Fat Boys,
Roy Ayers Ubiquity,
Ajijia Myrayebe,
Kerrie Biddell,
Buzzcocks,
Animal Collective,
Jeff Lynne,
Dorothy Ashby,
The Residents,
U.S. Maple,
Todd Rundgren,
Tom Boy,
Aloha Tigers,
Sly & The Family Stone,
Pole,
Bobby Hutcherson,
Ultravox,
Gong,
The Techniques,
Cecil Taylor,
Kayak,
cv313,
Drexciya,
Rosa Yemen,
The Selecter,
Sarah Menescal,
The Peanut Butter Conspiracy,
Brick,
Blake Baxter,
The Human League,
Morten Harket,
Matthew Halsall,
Blancmange,
Andrew Hill,
Deadbeat,
Aural Exciters,
kango's stein massive,
Marcia Griffiths,
The Doors,
DNA,
Röyhkä ja Rättö ja Lehtisalo,
Jesper Dahlbäck,
Jerry Gold Smith,
X-Ray Spex,
Ronnie Foster,
Flamin' Groovies,
The Beau Brummels,
Country Joe & The Fish,
Derrick May,
Trumans Water,
The Doobie Brothers,
One Last Wish,
Magma,
Fort Wilson Riot,
The Birthday Party,
the Association,
Jerry's Kids,
Yazoo,
Joy Division,
Qualms,
Zero Boys,
Albert Ayler,
Sight & Sound,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.