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 Israel and from Cairo.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1972.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Shuggie Otis to the grunge 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 Massinfluence. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Vainqueur,
Scratch Acid,
James White and The Blacks,
Juan Atkins,
DJ Sneak,
Moby Grape,
The Pop Group,
Judy Mowatt,
Pharoah Sanders,
Sandy B,
Susan Cadogan,
Moss Icon,
X-Ray Spex,
10cc,
Jesper Dahlback,
The Selecter,
China Crisis,
Nils Olav,
Terrestrial Tones,
Reagan Youth,
Barclay James Harvest,
David Bowie,
The Jesus and Mary Chain,
The Cosmic Jokers,
a-ha,
Royal Trux,
Michelle Simonal,
Al Stewart,
Ten City,
Cheater Slicks,
Robert Görl,
Amon Düül II,
Sunsets and Hearts,
Dark Day,
Scrapy,
Electric Light Orchestra,
Black Bananas,
Hasil Adkins,
Anthony Braxton,
Pole,
Hot Snakes,
One Last Wish,
Lakeside,
Alphaville,
the Germs,
The Invisible,
It's A Beautiful Day,
The Kinks,
The Human League,
Main Source,
Peter & Gordon,
Joe Smooth,
Todd Terry,
Radiopuhelimet,
Kas Product,
The Knickerbockers,
Avey Tare,
The West Coast Pop Art Experimental Band,
Severed Heads,
L. Decosne,
Deepchord, Deepchord, Deepchord, Deepchord.
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.