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 Thailand and from Columbus.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Winnipeg 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 guitar 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 Harpers Bizarre to the punk 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 Stereo Dub. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
The Smiths,
LL Cool J,
The Sound,
DNA,
Mantronix,
The Associates,
cv313,
June of 44,
James Chance & The Contortions,
The Fire Engines,
Crash Course in Science,
Yazoo,
Livin' Joy,
Rahsaan Roland Kirk,
Boredoms,
Talk Talk,
Marc Almond,
Visionaries,LMNO, T- Love & Iriscience,
Audionom,
Fat Boys,
Mad Mike,
Half Japanese,
kango's stein massive,
Little Man,
New York Dolls,
E-Dancer,
The Mighty Diamonds,
the Soft Cell,
The Cramps,
Average White Band,
The J.B.'s,
Marine Girls,
James White and The Blacks,
Sugar Minott,
Minnie Riperton,
The Dead C,
Bill Wells,
Peter Gordon & Love of Life Orchestra,
a-ha,
Boogie Down Productions,
Jeff Mills,
Sixth Finger,
The Fortunes,
JFA,
John Cale,
Wally Richardson,
Soul II Soul,
Public Enemy,
The Vogues,
John Lydon,
Zero Boys,
Notorious Big And Bone Thugs,
Pantytec,
Bob Dylan,
Justin Hinds & The Dominoes,
Kango’s Stein Massive,
Stetsasonic,
Electric Light Orchestra,
Popol Vuh,
Ralphi Rosario,
Skaos,
R.M.O., R.M.O., R.M.O., R.M.O..
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.