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 Argentina and from Woodstock.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Calgary 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba 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 Lalo Schifrin to the techno kids.
I played it at the Hacienda.
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 The Barracudas. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
X-Ray Spex,
Aural Exciters,
The Sound,
Sarah Menescal,
Gary Puckett & The Union Gap,
Gabor Szabo,
Wighnomy Brothers & Robag Wruhme,
Moebius,
The Cramps,
Brass Construction,
Ossler,
Fluxion,
Crash Course in Science,
Art Ensemble Of Chicago,
Yusef Lateef,
Arcadia,
Pussy Galore,
Lonnie Liston Smith,
The Real Kids,
Reagan Youth,
Funky Four + One,
One Last Wish,
Mission of Burma,
Crispian St. Peters,
Monolake,
Donald Byrd,
The Count Five,
The Toasters,
Ludus,
Bad Manners,
Arthur Verocai,
Procol Harum,
Porter Ricks,
Andrew Ashong & Theo Parrish,
Bang on a Can All-Stars,
The Invisible,
Max Romeo,
Roy Ayers,
The Doobie Brothers,
Iggy Pop,
Johnny Clarke,
D'Angelo,
Roxette,
The Sonics,
Absolute Body Control,
Alphaville,
Q65,
10cc,
Grandmaster Flash,
Derrick Morgan,
Rhythim Is Rhythim,
Black Bananas,
Amon Düül II,
Sun Ra Arkestra,
Gichy Dan,
Rod Modell,
Franke,
The Residents,
the Bar-Kays,
Barclay James Harvest,
Skarface, Skarface, Skarface, Skarface.
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.