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 Benin and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Delhi 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Velvet Underground to the dance kids.
I played it at Cafe Wha.
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 Albert Ayler. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Trumans Water,
Albert Ayler,
The Blues Magoos,
Gian Franco Pienzio,
Rotary Connection,
Hot Snakes,
Crash Course in Science,
New York Dolls,
Thinking Fellers Union Local 282,
Cabaret Voltaire,
Todd Terry,
Archie Shepp,
Toni Rubio,
The Flesh Eaters,
The Moody Blues,
Average White Band,
Don Cherry,
Henry Cow,
Boredoms,
LL Cool J,
Tres Demented,
Brass Construction,
The Electric Prunes,
John Coltrane,
The Standells,
New Age Steppers,
Grey Daturas,
Marine Girls,
Dennis Brown,
Eli Mardock,
Scan 7,
Rufus Thomas,
Pierre Henry,
Ponytail,
Roy Ayers,
Porter Ricks,
Scott Walker + Sunn O))),
Barclay James Harvest,
Crooked Eye,
the Fania All-Stars,
Unrelated Segments,
Brothers Johnson,
Ajijia Myrayebe,
Ken Boothe,
Das Ding,
Vaughan Mason & Crew,
La Düsseldorf,
Pantytec,
Ultramagnetic MC's,
Avey Tare & Kría Brekkan,
The Monochrome Set,
Piero Umiliani,
Fear,
Erykah Badu,
The Smiths,
Yellowson,
The Offenders,
Electric Light Orchestra,
Deakin,
Derrick Morgan,
Chrome, Chrome, Chrome, Chrome.
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.