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 Ethiopia and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
I'm losing my edge to the art-school Shanghai 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Cecil Taylor to the dance 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 Talk Talk. All the underground hits.
All DNA tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Vaughan Mason & Crew,
Ultra Naté,
Radiohead,
Television,
Alton Ellis,
Interpol,
DeepChord presents Echospace,
Electric Light Orchestra,
Max Romeo,
ABBA,
Charles Mingus,
Richard Hell and the Voidoids,
Fat Boys,
Cecil Taylor,
OOIOO,
Mary Jane Girls,
The Angels of Light,
the Soft Cell,
John Holt,
Groovy Waters,
Barry Ungar,
Jimmy McGriff,
The Selecter,
T. Rex,
the Germs,
The Busters,
Faraquet,
New Age Steppers,
Fatback Band,
Janne Schatter,
Bootsy's Rubber Band,
Loose Ends,
The Divine Comedy,
Ice-T,
Kaleidoscope,
The Birthday Party,
Ituana,
Schoolly D,
Franke,
L. Decosne,
Barclay James Harvest,
Second Layer,
Massinfluence,
Juan Atkins,
Lightning Bolt,
Suburban Knight,
Crispy Ambulance,
Agitation Free,
Bluetip,
Selector Dub Narcotic,
Flash Fearless,
Gary Puckett & The Union Gap,
Scientists,
Steve Hackett,
Deakin,
Delon & Dalcan,
Depeche Mode,
Boredoms,
Ohio Players,
Mission of Burma,
The Trojans, The Trojans, The Trojans, The Trojans.
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.