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 Turkmenistan and from Winnipeg.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 jazz 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 Gastr Del Sol. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
the Fania All-Stars,
Main Source,
Section 25,
Faraquet,
the Germs,
The Saints,
Bill Near,
Alton Ellis,
H. Thieme,
Glambeats Corp.,
Eve St. Jones,
OOIOO,
Public Image Ltd.,
CMW,
Black Sheep,
The Fortunes,
Marshall Jefferson,
The Pretty Things,
Rotary Connection,
Albert Ayler,
Lower 48,
Excepter,
Bush Tetras,
Ituana,
Scrapy,
Sonic Youth,
A Flock of Seagulls,
Chris & Cosey,
Nas,
Susan Cadogan,
The Music Machine,
Steve Hackett,
June of 44,
Hot Snakes,
Erasure,
Blake Baxter,
Niagra,
Marc Romboy vs. Booka Shade,
Ponytail,
Sly & The Family Stone,
The Busters,
Stockholm Monsters,
Aural Exciters,
Television Personalities,
Radiohead,
Quando Quango,
Quadrant,
The Dirtbombs,
The Five Americans,
Andrew Ashong & Theo Parrish,
Terry Callier,
Cameo,
Alice Coltrane,
Half Japanese,
Nirvana,
Erykah Badu,
Lightning Bolt,
Depeche Mode,
Kenny Larkin,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.