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 Togo and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 snare sounds with much patience.
I was there when Robert Palmer 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 James White and The Blacks to the electroclash kids.
I played it at the Crocodile.
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 Sonic Youth. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Althea and Donna,
The Zeros,
Index,
Sight & Sound,
Lakeside,
ABBA,
Alice Coltrane,
Judy Mowatt,
Ornette Coleman,
Lungfish,
China Crisis,
Minnie Riperton,
Pete Rock & C.L. Smooth,
DJ Sneak,
Donny Hathaway,
Thinking Fellers Union Local 282,
Agitation Free,
Pierre Henry,
Pylon,
The Monochrome Set,
Quantec,
Jawbox,
Zero Boys,
Amon Düül II,
Deadbeat,
Fear,
The Men They Couldn't Hang,
Aloha Tigers,
T.S.O.L.,
Urselle,
The Red Krayola,
PIL,
Agent Orange,
Yusef Lateef,
The Real Kids,
Skriet,
The Detroit Cobras,
Anakelly,
the Swans,
John Holt,
Simply Red,
Black Flag,
Ultimate Spinach,
Janne Schatter,
Robert Görl,
Amazonics,
The Fire Engines,
Section 25,
Schoolly D,
Goldenarms,
Blake Baxter,
Camron Feat. Memphis Bleek And Beenie Seigel,
K-Klass,
Circle Jerks,
The Mighty Diamonds,
Radiopuhelimet,
Notorious Big And Bone Thugs,
The Seeds,
Jeru the Damaja,
John Coltrane,
Johnny Clarke,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.