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 San Marino and from Jakarta.
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 1961 to 1970.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 The Men They Couldn't Hang to the electroclash kids.
I played it at the Troubador.
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 Lungfish. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Underground Resistance,
Flamin' Groovies,
The Standells,
Slick Rick,
La Düsseldorf,
Morten Harket,
Amon Düül II,
Dawn Penn,
The Stooges,
Lucky Dragons,
Captain Beefheart & His Magic Band,
Das Ding,
Funkadelic,
Livin' Joy,
Sarah Menescal,
Notorious Big And Bone Thugs,
Deakin,
Bobby Sherman,
Archie Shepp,
Buzzcocks,
Brass Construction,
Tom Boy,
Severed Heads,
Faraquet,
Tim Buckley,
Theoretical Girls,
The United States of America,
Brand Nubian,
Ultimate Spinach,
The Techniques,
Groovy Waters,
48th St. Collective,
the Association,
The Birthday Party,
Susan Cadogan,
Crash Course in Science,
The Monochrome Set,
June Days,
Howard Jones,
Jesper Dahlback,
OOIOO,
the Swans,
Eric Dolphy,
Stereo Dub,
The Fortunes,
Dorothy Ashby,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gichy Dan,
Sällskapet,
Eddi Front,
Manfred Mann's Earth Band,
MDC,
Sister Nancy,
Donald Byrd,
Mr. Review,
Jacob Miller,
Dual Sessions,
The Chocolate Watch Band,
Model 500,
Erasure,
Shoche,
Parry Music, Parry Music, Parry Music, Parry Music.
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.