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 Oman and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school Lagos 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 sitar 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 Avey Tare's Slasher Flicks 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 Adolescents. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal rock 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 guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys 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?
Supertramp,
Juan Atkins,
Moebius,
Black Bananas,
Sarah Menescal,
Smog,
ABBA,
Roy Ayers Ubiquity,
Pierre Henry,
Lafayette Afro Rock Band,
Jimmy McGriff,
The Sound,
T. Rex,
The Gap Band,
Laurel Aitken,
the Swans,
Stereo Dub,
ABC,
The Cramps,
Bobby Womack,
Funky Four + One,
David Bowie,
Angels of Light & Akron/Family,
Ronan,
Dead Boys,
Cal Tjader,
Agitation Free,
Traffic Nightmare,
Peter and Kerry,
Bronski Beat,
Make Up,
Soulsonic Force,
Massinfluence,
Radio Birdman,
Unwound,
DNA,
Camouflage,
JFA,
Ralphi Rosario,
Lonnie Liston Smith,
Sparks,
Icehouse,
Dorothy Ashby,
Reuben Wilson,
Fatback Band,
Monolake,
The Dead C,
Average White Band,
Nas,
Blossom Toes,
Erykah Badu,
The Slackers,
Yazoo,
Teenage Jesus and the Jerks,
Marcia Griffiths,
Ornette Coleman,
The Gun Club,
Kerrie Biddell,
The Kinks,
The Zeros,
Aswad,
Aaron Thompson,
John Cale,
Bill Near, Bill Near, Bill Near, Bill Near.
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.