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 Lesotho and from Lyon.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Salvador 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 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 Thee Headcoats to the dance kids.
I played it at the Crocodile.
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 Gang of Four. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Peter & Gordon,
R.M.O.,
Avey Tare & Kría Brekkan,
Tropical Tobacco,
Eve St. Jones,
Amazonics,
Lizzy Mercier Descloux,
Public Image Ltd.,
The Slits,
Thinking Fellers Union Local 282,
Whodini,
Altered Images,
Joy Division,
Glambeats Corp.,
Richard Hell and the Voidoids,
Sugar Minott,
a-ha,
Quando Quango,
London Community Gospel Choir,
The Toasters,
U.S. Maple,
Avey Tare,
Morten Harket,
Davy DMX,
The Barracudas,
Hasil Adkins,
L. Decosne,
Pete Rock & C.L. Smooth,
Rowland S Howard / Lydia Lunch,
Roy Ayers Ubiquity,
Captain Beefheart & His Magic Band,
Spandau Ballet,
Half Japanese,
Scott Walker,
Mission of Burma,
Ituana,
Aaron Thompson,
Kool Moe Dee,
Sun Ra Arkestra,
The Smiths,
Nirvana,
The Move,
Ponytail,
Tommy Roe,
The Velvet Underground,
The Misunderstood,
China Crisis,
Marvin Gaye,
La Düsseldorf,
the Swans,
Simply Red,
David Axelrod,
Fat Boys,
Be Bop Deluxe,
Boz Scaggs,
Robert Wyatt,
Marcia Griffiths,
Harry Pussy,
Radiopuhelimet,
Ultimate Spinach,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.