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 Liechtenstein and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Lagos 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Roy Ayers Ubiquity to the electroclash kids.
I played it at the Roxy.
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 Anakelly. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Liaisons Dangereuses,
The Mojo Men,
Al Stewart,
Tres Demented,
Dead Boys,
Jandek,
Faraquet,
Bobby Sherman,
The Walker Brothers,
The Mummies,
Sound Behaviour,
Derrick Morgan,
Deutsch Amerikanische Freundschaft,
Letta Mbulu,
Jerry Gold Smith,
It's A Beautiful Day,
Boredoms,
Nirvana,
Girls At Our Best!,
Crispy Ambulance,
Yaz,
Marcia Griffiths,
Louis and Bebe Barron,
Ornette Coleman,
X-Ray Spex,
New York Dolls,
Max Romeo,
Public Image Ltd.,
Rosa Yemen,
Leonard Cohen,
Sister Nancy,
Depeche Mode,
Rakim,
the Swans,
The Count Five,
Lonnie Liston Smith,
Main Source,
Accadde A,
Davy DMX,
Suburban Knight,
Minny Pops,
Model 500,
Grey Daturas,
Major Organ And The Adding Machine,
The Velvet Underground,
Delon & Dalcan,
Bronski Beat,
Cheater Slicks,
The Barracudas,
Johnny Clarke,
Schoolly D,
Bob Dylan,
Albert Ayler,
Susan Cadogan,
Cluster,
Oppenheimer Analysis,
Lou Reed,
The Move,
Japan,
The Leaves,
Wire,
Quando Quango,
Jawbox,
the Slits, the Slits, the Slits, the Slits.
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.