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 Italy and from Copenhagen.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Tehran 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 The Offenders to the disco 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 The Pretty Things. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Circle Jerks 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Buzzcocks,
Nils Olav,
Procol Harum,
Moby Grape,
Terrestrial Tones,
Public Image Ltd.,
Massinfluence,
Traffic Nightmare,
Warsaw,
The Vogues,
The Martian,
Spoonie Gee,
KRS-One,
Glambeats Corp.,
Lindisfarne,
10cc,
Jawbox,
Au Pairs,
Sight & Sound,
Half Japanese,
Scientists,
Anakelly,
Surgeon,
Public Enemy,
Rufus Thomas,
Pantaleimon,
Kaleidoscope,
Idris Muhammad,
Ajijia Myrayebe,
Easy Going,
the Sonics,
Big Daddy Kane,
DNA,
Ohio Players,
Be Bop Deluxe,
Josef K,
B.T. Express,
China Crisis,
Peter and Kerry,
Arthur Verocai,
The Gun Club,
The Seeds,
Pere Ubu,
Bluetip,
Chris Corsano,
Mad Mike,
Blake Baxter,
Q and Not U,
Underground Resistance,
Crispy Ambulance,
the Slits,
Harry Pussy,
Sun Ra,
Ash Ra Tempel,
Dawn Penn,
Derrick Morgan,
The Mighty Diamonds,
Jandek,
Skaos,
Mantronix, Mantronix, Mantronix, Mantronix.
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.