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 San Marino and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Salvador and Delhi.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Pylon to the grunge kids.
I played it at the Troubador.
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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Make Up 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The Real Kids,
Cameo,
Joyce Sims,
The Names,
The Gories,
Michelle Simonal,
Bad Manners,
Oblivians,
Boogie Down Productions,
The Royal Family And The Poor,
Sly & The Family Stone,
Terrestrial Tones,
Derrick May,
Byron Stingily,
Das Ding,
Malaria!,
Richard Hell and the Voidoids,
Howard Jones,
Rod Modell,
The Blackbyrds,
Radiohead,
Jeff Lynne,
The Neon Judgement,
The Leaves,
Bizarre Inc.,
The Dead C,
The Litter,
Nico,
Flipper,
Ajijia Myrayebe,
KRS-One,
Anakelly,
Harpers Bizarre,
Subhumans,
Khruangbin,
Maleditus Sound,
Barry Ungar,
Junior Murvin,
The Music Machine,
Davy DMX,
Terry Callier,
Letta Mbulu,
Dave Gahan,
Sam Rivers,
The Gun Club,
The Gladiators,
The Mighty Diamonds,
Graham Central Station,
Barclay James Harvest,
Black Sheep,
Section 25,
The Young Rascals,
The Zeros,
B.T. Express,
The Doobie Brothers,
Don Cherry,
Television,
Lindisfarne,
Sight & Sound,
Can, Can, Can, Can.
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.