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 Costa Rica and from Copenhagen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Halifax and Toronto.
I'm losing my edge to the art-school Johannesburg 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 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 Sight & Sound to the rap kids.
I played it at Cafe Wha.
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 Fifty Foot Hose. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
The Remains,
Liaisons Dangereuses,
Cecil Taylor,
Anthony Braxton,
Ohio Players,
Soul II Soul,
Marc Almond,
World's Most,
Joyce Sims,
Massinfluence,
Reagan Youth,
Traffic Nightmare,
Echo & the Bunnymen,
Brick,
A Certain Ratio,
Smog,
Bobby Hutcherson,
Fad Gadget,
Radio Birdman,
The Gladiators,
Vainqueur,
Warsaw,
Eurythmics,
Albert Ayler,
Motorama,
Brass Construction,
Gang Green,
Bootsy Collins,
Radiopuhelimet,
Alton Ellis,
Man Eating Sloth,
Ludus,
the Human League,
The Tremeloes,
Spandau Ballet,
Infiniti,
Make Up,
the Swans,
the Bar-Kays,
Average White Band,
Fela Kuti,
T. Rex,
Bill Near,
Fugazi,
Donald Byrd,
Anakelly,
Ossler,
Clear Light,
Pole,
This Heat,
Slave,
Derrick Morgan,
Mark Hollis,
Nas,
Nick Fraelich,
Metal Thangz,
Skarface,
The Flesh Eaters,
Captain Beefheart & His Magic Band,
Nation of Ulysses,
Girls At Our Best!,
The Angels of Light,
Roy Ayers Ubiquity,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.