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 Russia and from Manchester.
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 1971.
I'm losing my edge.
To all the kids in Cairo and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Interpol to the grunge kids.
I played it at the 40 Watt.
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 Country Joe & The Fish. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Ultravox,
Glenn Branca,
The Barracudas,
Sixth Finger,
Khruangbin,
Vaughan Mason & Crew,
Neu!,
Boogie Down Productions,
A Certain Ratio,
Hardrive,
Shuggie Otis,
Idris Muhammad,
Tears for Fears,
James Chance & The Contortions,
Robert Wyatt,
Todd Terry,
Tomorrow,
Infiniti,
Robert Görl,
Moebius,
Malaria!,
Con Funk Shun,
The Pretty Things,
Lakeside,
the Fania All-Stars,
Marc Romboy vs. Booka Shade,
the Association,
Whodini,
The Count Five,
Public Image Ltd.,
Angels of Light & Akron/Family,
Kerri Chandler,
Quadrant,
Stiv Bators,
Lalann,
Albert Ayler,
Siouxsie and the Banshees,
The Young Rascals,
Deepchord,
Dark Day,
Visage,
Pulsallama,
Bluetip,
Larry & the Blue Notes,
Captain Beefheart & His Magic Band,
Swans,
Q and Not U,
The Techniques,
The Peanut Butter Conspiracy,
Model 500,
Ash Ra Tempel,
Andrew Hill,
Radio Birdman,
Neil Young & Crazy Horse,
Warsaw,
Gerry Rafferty,
Lou Reed & John Cale,
The Fall,
Ronnie Foster,
Soul Sonic Force,
Pantytec,
Lee Hazlewood,
The Offenders,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.