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 Bangladesh and from Paris.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Spokane and Madrid.
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 güiro 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 Nick Cave & The Bad Seeds to the rap kids.
I played it at the 40 Watt.
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 Laurel Aitken. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
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 Scratch Acid record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Depeche Mode,
Patti Smith,
Mars,
The Detroit Cobras,
Babytalk,
Dennis Brown,
Rekid,
The Walker Brothers,
Anakelly,
the Slits,
Aloha Tigers,
Scratch Acid,
Junior Murvin,
Suicide,
Simply Red,
Idris Muhammad,
Traffic Nightmare,
Tears for Fears,
Scion,
The Monks,
Glambeats Corp.,
The Victims,
Malaria!,
Gastr Del Sol,
Pantaleimon,
The Doors,
Kenny Larkin,
Sun Ra Arkestra,
Eurythmics,
Bill Near,
Porter Ricks,
Danielle Patucci,
Maurizio,
Gang Green,
Black Sheep,
Young Marble Giants,
Vainqueur,
Deadbeat,
The Human League,
Black Bananas,
Underground Resistance,
Röyhkä ja Rättö ja Lehtisalo,
The Grass Roots,
Marshall Jefferson,
Peter & Gordon,
Outsiders,
Kings Of Tomorrow,
Curtis Mayfield,
The Misunderstood,
The Residents,
Beasts of Bourbon,
Terrestrial Tones,
Kool G Rap & DJ Polo,
Jandek,
Sun Ra,
Moss Icon,
Howard Jones,
Sandy B,
The Blackbyrds,
Robert Görl,
8 Eyed Spy,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.