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 Guinea and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Manila and Taipei.
I'm losing my edge to the art-school London 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 clarinet 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 Technova to the grime 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 John Coltrane. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal punk 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 a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe 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?
Grey Daturas,
Freddie Wadling,
Eric Copeland,
Bang On A Can,
Stereo Dub,
Subhumans,
The Techniques,
Traffic Nightmare,
Interpol,
Icehouse,
Crispy Ambulance,
John Coltrane,
La Düsseldorf,
Nik Kershaw,
Von Mondo,
Pete Rock & C.L. Smooth,
Radiopuhelimet,
JFA,
Girls At Our Best!,
Oppenheimer Analysis,
The Move,
DNA,
Charles Mingus,
Jesper Dahlback,
Spoonie Gee,
Slave,
Cabaret Voltaire,
The Jesus and Mary Chain,
Popol Vuh,
Tears for Fears,
Dawn Penn,
Second Layer,
Gastr Del Sol,
Scrapy,
These Immortal Souls,
Tim Buckley,
Pylon,
Terror Squad Feat. Camron,
F. McDonald,
Ossler,
The Associates,
Sticky Fingaz feat. Raekwon,
The Velvet Underground,
Larry & the Blue Notes,
Sparks,
Lucky Dragons,
Motorama,
The Men They Couldn't Hang,
Pussy Galore,
Bang on a Can All-Stars,
Henry Cow,
Sex Pistols,
Richard Hell and the Voidoids,
Sixth Finger,
Lower 48,
Johnny Clarke,
The Royal Family And The Poor,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.