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 Laos and from Woodstock.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Delhi and Accra.
I'm losing my edge to the art-school Salvador 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 Michael McDonald 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 Susan Cadogan to the punk 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 Reagan Youth. All the underground hits.
All Faust tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal grunge 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 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Terror Squad Feat. Camron,
Motorama,
T. Rex,
Con Funk Shun,
the Association,
Kerri Chandler,
Mission of Burma,
Piero Umiliani,
Man Eating Sloth,
Model 500,
Unrelated Segments,
The Seeds,
Ken Boothe,
The Velvet Underground,
Gregory Isaacs,
Wolf Eyes,
Lalann,
X-101,
MC5,
Gil Scott-Heron and Jamie xx,
Peter & Gordon,
Robert Wyatt,
Echo & the Bunnymen,
Bauhaus,
AZ,
Jimmy McGriff,
Sad Lovers and Giants,
Crime,
Organ,
Freddie Wadling,
Panda Bear,
Lalo Schifrin,
Ultimate Spinach,
Lee Hazlewood,
The Star Department,
Laurel Aitken,
Alison Limerick,
Derrick May,
Heavy D & The Boyz,
DJ Style,
Visage,
E-Dancer,
The Birthday Party,
Bang on a Can All-Stars,
Justin Hinds & The Dominoes,
Pierre Henry,
Archie Shepp,
Marmalade,
KRS-One,
UT,
Lakeside,
The Neon Judgement,
Second Layer,
Stockholm Monsters,
Adolescents,
Tropical Tobacco,
Alton Ellis,
Suburban Knight,
Susan Cadogan,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.