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 Iceland and from Toronto.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Lizzy Mercier Descloux to the grime 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 The Smiths. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Quando Quango,
Country Teasers,
Minor Threat,
The Monochrome Set,
Lindisfarne,
Funky Four + One,
Michelle Simonal,
Wally Richardson,
The Cowsills,
The Vogues,
Sunsets and Hearts,
Richard Hell and the Voidoids,
Rotary Connection,
Nico,
Nirvana,
Brothers Johnson,
De La Soul & Jungle Brothers,
The Index,
Spoonie Gee,
Joe Finger,
Eric B and Rakim,
Arab on Radar,
Robert Wyatt,
Roxette,
Mo-Dettes,
EPMD,
Black Bananas,
Grandmaster Flash,
The American Breed,
The Slackers,
Steve Hackett,
Gil Scott-Heron & Brian Jackson,
Bob Dylan,
Manfred Mann's Earth Band,
James White and The Blacks,
Scientists,
Joyce Sims,
Harpers Bizarre,
Stetsasonic,
Andrew Ashong & Theo Parrish,
Aloha Tigers,
Q and Not U,
Minutemen,
Angels of Light & Akron/Family,
Jandek,
The Peanut Butter Conspiracy,
Yazoo,
Moss Icon,
Niagra,
The Fall,
Reuben Wilson,
Pussy Galore,
X-Ray Spex,
Main Source,
This Heat,
Crooked Eye,
Arcadia,
Lou Christie,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.