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 Ivory Coast and from Glasgow.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Calgary and Calgary.
I'm losing my edge to the art-school Seoul 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Young Marble Giants to the rap kids.
I played it at the 40 Watt.
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 Toni Rubio. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal grime 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
B.T. Express,
a-ha,
The Skatalites,
The Last Poets,
Dead Boys,
Smog,
The Gap Band,
Dawn Penn,
Eli Mardock,
Steve Hackett,
48th St. Collective,
Judy Mowatt,
Robert Wyatt,
Eric Dolphy,
Gang of Four,
Strawberry Alarm Clock,
Little Man,
Girls At Our Best!,
One Last Wish,
Faraquet,
Nas,
L. Decosne,
Deepchord,
Animal Collective,
Quadrant,
Scratch Acid,
Zero Boys,
A Flock of Seagulls,
The Associates,
Los Fastidios,
Delon & Dalcan,
Oblivians,
The Buckinghams,
Be Bop Deluxe,
Gerry Rafferty,
Can,
Joey Negro,
The Searchers,
Motorama,
Camberwell Now,
Chris Corsano,
Minor Threat,
The Grass Roots,
Cecil Taylor,
The Leaves,
Lindisfarne,
Accadde A,
Roger Hodgson,
the Germs,
Kool Moe Dee,
Jacques Brel,
Amazonics,
Avey Tare's Slasher Flicks,
Matthew Bourne,
Jacob Miller,
The Detroit Cobras,
Alphaville,
In Retrospect,
The Remains,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.