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 Mauritius 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 1973.
I'm losing my edge.
To all the kids in Copenhagen and Edmonton.
I'm losing my edge to the art-school Paris 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Mission of Burma to the funk kids.
I played it at the Hacienda.
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 Sonics. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The Toasters,
Bang on a Can All-Stars,
One Last Wish,
Cheater Slicks,
DeepChord presents Echospace,
Thee Headcoats,
Los Fastidios,
48th St. Collective,
Livin' Joy,
Goldenarms,
In Retrospect,
Jawbox,
The Searchers,
Circle Jerks,
David Axelrod,
Minny Pops,
Sound Behaviour,
Brothers Johnson,
Grauzone,
Sad Lovers and Giants,
Derrick May,
kango's stein massive,
Bootsy's Rubber Band,
Sam Rivers,
Peter Gordon & Love of Life Orchestra,
Lindisfarne,
Jesper Dahlback,
The Smoke,
Siglo XX,
the Soft Cell,
Excepter,
Black Flag,
London Community Gospel Choir,
Bang On A Can,
David Bowie,
June Days,
Pole,
Vladislav Delay,
Scott Walker,
Chrome,
Godley & Creme,
John Cale,
Shoche,
Radio Birdman,
The Doobie Brothers,
Flash Fearless,
The Mojo Men,
D'Angelo,
Ajijia Myrayebe,
Au Pairs,
Tomorrow,
Roger Hodgson,
Ohio Players,
E-Dancer,
Bill Near,
Funkadelic,
Suburban Knight,
Black Bananas,
The Music Machine,
Eve St. Jones,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.