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 Bahrain and from Tehran.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Winnipeg.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Raincoats to the techno 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 Subhumans. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Barbara Tucker,
Todd Terry,
Throbbing Gristle,
Delon & Dalcan,
The Neon Judgement,
Sight & Sound,
Richard Hell and the Voidoids,
Kings Of Tomorrow,
Magma,
Banda Bassotti,
Freddie Wadling,
Ten City,
Marc Almond,
Heavy D & The Boyz,
Tim Buckley,
Excepter,
Rahsaan Roland Kirk,
Monks,
Archie Shepp,
Kurtis Blow,
Nirvana,
Scratch Acid,
Kool Moe Dee,
Michelle Simonal,
The Happenings,
Carl Craig,
T. Rex,
Gil Scott Heron,
Mr. Review,
Big Daddy Kane,
the Fania All-Stars,
Popol Vuh,
The Leaves,
Shuggie Otis,
the Normal,
Surgeon,
Chris Corsano,
Alison Limerick,
Swell Maps,
Yusef Lateef,
Kool G Rap & DJ Polo,
Kevin Saunderson,
Harmonia,
Young Marble Giants,
Peter Gordon & Love of Life Orchestra,
Leonard Cohen,
Guru Guru,
Public Enemy,
Babytalk,
Rhythm & Sound,
Nation of Ulysses,
Masters at Work,
Kango’s Stein Massive,
The Gories,
The Jesus and Mary Chain,
Janne Schatter,
Jeru the Damaja,
DNA,
Sun Ra Arkestra,
The Martian,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.