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 New Zealand and from Jakarta.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lille and London.
I'm losing my edge to the art-school Delhi 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Dave Clark Five 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 Skaos. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Magma,
Gastr Del Sol,
DNA,
R.M.O.,
Porter Ricks,
One Last Wish,
David Bowie,
F. McDonald,
Basic Channel,
Goldenarms,
Dark Day,
Soulsonic Force,
Dawn Penn,
the Soft Cell,
Freddie Wadling,
Jacques Brel,
Chris & Cosey,
Franke,
Peter Gordon & Love of Life Orchestra,
Tommy Roe,
The Cure,
Red Lorry Yellow Lorry,
Big Daddy Kane,
Soft Machine,
Josef K,
Drexciya,
Skarface,
Thompson Twins,
The J.B.'s,
Gregory Isaacs,
Barclay James Harvest,
Flash Fearless,
Pierre Henry,
Terrestrial Tones,
Terry Callier,
The Standells,
Roy Ayers Ubiquity,
Chrome,
New York Dolls,
Traffic Nightmare,
Nation of Ulysses,
Godley & Creme,
Colin Newman,
Yaz,
The Mojo Men,
Siglo XX,
The Alarm Clocks,
Barbara Tucker,
The Blues Magoos,
Tears for Fears,
Stiv Bators,
Justin Hinds & The Dominoes,
Neil Young,
Technova,
The Litter,
The West Coast Pop Art Experimental Band,
Sound Behaviour,
The Detroit Cobras,
Rod Modell,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.