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 Bosnia Herzegovina and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1972.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Manila 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 oboe sounds with much patience.
I was there when Lou Reed 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 Andrew Hill to the rap kids.
I played it at the Spitz.
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 AZ. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
The Chocolate Watch Band,
Crime,
Gregory Isaacs,
The Smoke,
Brick,
Yellowson,
Main Source,
The Divine Comedy,
Lee Hazlewood,
The Peanut Butter Conspiracy,
Wighnomy Brothers & Robag Wruhme,
Sound Behaviour,
Bill Near,
The Victims,
Pierre Henry,
Traffic Nightmare,
Roxette,
Fear,
Wire,
Bootsy's Rubber Band,
Red Lorry Yellow Lorry,
Lungfish,
Accadde A,
Jeff Lynne,
Terror Squad Feat. Camron,
Brand Nubian,
The Durutti Column,
The Fire Engines,
Jawbox,
John Coltrane,
The Last Poets,
This Heat,
The Barracudas,
Saccharine Trust,
Grauzone,
Man Eating Sloth,
Heaven 17,
Japan,
Subhumans,
Isaac Hayes,
Angels of Light & Akron/Family,
PIL,
Absolute Body Control,
Jacques Brel,
Gang of Four,
Yazoo,
Agitation Free,
The Cure,
Zapp,
Boogie Down Productions,
Rosa Yemen,
Dead Boys,
The Residents,
Flipper,
The New Christs,
Man Parrish,
Visage,
Spoonie Gee,
The Electric Prunes,
Niagra,
Drive Like Jehu,
MDC, MDC, MDC, MDC.
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.