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 Libya and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Toronto and Portland.
I'm losing my edge to the art-school Milan 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 harpsichord 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 Sad Lovers and Giants to the electroclash kids.
I played it at Trash.
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 LL Cool J. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Eddi Front 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 '80s cut and another box set from the '70s.
I hear you're buying an organ 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 Saints record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
John Holt,
Red Lorry Yellow Lorry,
The West Coast Pop Art Experimental Band,
The Mummies,
Nick Cave & The Bad Seeds,
Pussy Galore,
Alice Coltrane,
Ossler,
Whodini,
Technova,
It's A Beautiful Day,
Hoover,
Traffic Nightmare,
Barry Ungar,
Louis and Bebe Barron,
Röyhkä ja Rättö ja Lehtisalo,
DJ Sneak,
Mark Hollis,
Boredoms,
The Count Five,
Cal Tjader,
Albert Ayler,
Royal Trux,
Mantronix,
UT,
The Mojo Men,
Angels of Light & Akron/Family,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pere Ubu,
Cybotron,
Brass Construction,
The Searchers,
DNA,
Moebius,
Blake Baxter,
Make Up,
Tomorrow,
Isaac Hayes,
Rufus Thomas,
June of 44,
Mo-Dettes,
Richard Hell and the Voidoids,
Clear Light,
London Community Gospel Choir,
Jandek,
Index,
The Fall,
China Crisis,
The Techniques,
Lalann,
Fat Boys,
a-ha,
Rosa Yemen,
The Smiths,
John Lydon,
Terror Squad Feat. Camron,
Bobby Sherman,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.