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 Netherlands and from Woodstock.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Delhi and Seoul.
I'm losing my edge to the art-school Philadelphia 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Pierre Henry to the techno kids.
I played it at the Troubador.
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 Goldenarms. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Qualms 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Liaisons Dangereuses,
June Days,
Roxy Music,
Wasted Youth,
The Doobie Brothers,
The Dead C,
Camberwell Now,
Second Layer,
Pole,
10cc,
The United States of America,
Warsaw,
Joe Smooth,
Glambeats Corp.,
Talk Talk,
Godley & Creme,
The Dave Clark Five,
Sixth Finger,
Captain Beefheart & His Magic Band,
the Human League,
The Slits,
Davy DMX,
Juan Atkins,
Agitation Free,
Public Enemy,
The Star Department,
Pierre Henry,
Swell Maps,
MDC,
Desert Stars,
Cymande,
Kerri Chandler,
Alphaville,
Ossler,
Young Marble Giants,
The Mummies,
Alice Coltrane,
Susan Cadogan,
Mark Hollis,
Robert Hood,
Masters at Work,
Janne Schatter,
Kaleidoscope,
The Invisible,
The Vogues,
The Walker Brothers,
Essential Logic,
Ultra Naté,
Bang On A Can,
The Trojans,
Al Stewart,
Scott Walker,
The Black Dice,
Little Man,
Pete Rock & C.L. Smooth,
Negative Approach,
The Five Americans,
Hashim,
The American Breed,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.