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 Bolivia and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Jakarta 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 guitar 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 Be Bop Deluxe to the techno kids.
I played it at the Spitz.
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 H. Thieme. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every the Slits 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Mad Mike,
Derrick May,
Sun City Girls,
Boredoms,
Nick Cave & The Bad Seeds,
Byron Stingily,
Second Layer,
Quadrant,
Kerrie Biddell,
Dorothy Ashby,
June of 44,
Yusef Lateef,
Roger Hodgson,
Q and Not U,
The Kinks,
Brand Nubian,
Sparks,
Kango’s Stein Massive,
The Detroit Cobras,
Tim Buckley,
Gichy Dan,
Radiohead,
Juan Atkins,
the Association,
Sex Pistols,
Gang Starr,
Fugazi,
Max Romeo,
Au Pairs,
Organ,
Underground Resistance,
Joyce Sims,
Terry Callier,
Sound Behaviour,
Moby Grape,
Excepter,
Altered Images,
The Gap Band,
Darondo,
Babytalk,
Zero Boys,
Lou Reed,
Marc Almond,
Warren Ellis,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ralphi Rosario,
Pantaleimon,
Glenn Branca,
Mission of Burma,
Glambeats Corp.,
Adolescents,
Jimmy McGriff,
Masters at Work,
Letta Mbulu,
Leonard Cohen,
Todd Terry,
Rod Modell,
Isaac Hayes,
Deadbeat,
Joensuu 1685,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.