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 Djibouti and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Delhi.
I'm losing my edge to the art-school Stockholm 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 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 Derrick Morgan to the electroclash 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 Hoover. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
John Foxx,
Hasil Adkins,
Vladislav Delay,
the Normal,
Flash Fearless,
The Fuzztones,
Dawn Penn,
Lakeside,
The Beau Brummels,
Echospace,
Joyce Sims,
Teenage Jesus and the Jerks,
Gil Scott-Heron & Brian Jackson,
Donny Hathaway,
Funky Four + One,
Ultimate Spinach,
Jacques Brel,
Cymande,
Jesper Dahlbäck,
The Red Krayola,
Little Man,
Andrew Ashong & Theo Parrish,
AZ,
The Wake,
Major Organ And The Adding Machine,
Davy DMX,
Icehouse,
10cc,
The Golliwogs,
The Residents,
Subhumans,
Zero Boys,
The West Coast Pop Art Experimental Band,
Wighnomy Brothers & Robag Wruhme,
the Sonics,
The Barracudas,
Pole,
Suicide,
Laurel Aitken,
Smog,
Dead Boys,
Gian Franco Pienzio,
Gerry Rafferty,
Eric Copeland,
Talk Talk,
Kerrie Biddell,
The Five Americans,
Mantronix,
Siouxsie and the Banshees,
Gil Scott Heron,
Joe Smooth,
Sonic Youth,
Mandrill,
a-ha,
Kango’s Stein Massive,
Sex Pistols,
Rakim,
Duran Duran,
The Dead C,
MC5,
Metal Thangz,
Supertramp,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.