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 Guatemala and from Edmonton.
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 1971.
I'm losing my edge.
To all the kids in Bremen and Halifax.
I'm losing my edge to the art-school Taipei 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron 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 Youth Brigade to the grunge kids.
I played it at the 40 Watt.
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 James Chance & The Contortions. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal rock 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 oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Pagans,
Monks,
Joensuu 1685,
Anakelly,
Wally Richardson,
Mr. Review,
Piero Umiliani,
Infiniti,
Sexual Harrassment,
Jacob Miller,
Carl Craig,
The Shadows of Knight,
The Men They Couldn't Hang,
Juan Atkins,
Cybotron,
Country Teasers,
Index,
Gichy Dan,
Fort Wilson Riot,
Siglo XX,
Monolake,
The Associates,
Dr. Dre and Snoop Doggy Dog,
The Count Five,
Sonny Sharrock,
The Grass Roots,
Lightning Bolt,
Terrestrial Tones,
The Monks,
Eyeless In Gaza,
The Standells,
Peter Gordon & Love of Life Orchestra,
Steve Hackett,
Heaven 17,
Q and Not U,
Chrome,
Lebanon Hanover,
Bronski Beat,
Lindisfarne,
Rosa Yemen,
Interpol,
X-102,
The Remains,
Glambeats Corp.,
Drive Like Jehu,
Pussy Galore,
Sugar Minott,
Aswad,
The West Coast Pop Art Experimental Band,
Gian Franco Pienzio,
T.S.O.L.,
Oppenheimer Analysis,
Pete Rock & C.L. Smooth,
The Sonics,
Adolescents,
The Smiths,
Letta Mbulu,
Bang On A Can,
World's Most,
Cymande,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.