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 Guatemala and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
I'm losing my edge to the art-school Mexico City 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 Robert Palmer 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 Gastr Del Sol to the funk 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 The Pretty Things. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Half Japanese,
Black Flag,
Camouflage,
Pharoah Sanders,
Agitation Free,
Neu!,
The Misunderstood,
Angels of Light & Akron/Family,
Crash Course in Science,
Thinking Fellers Union Local 282,
Vainqueur,
Ronnie Foster,
The Monochrome Set,
Symarip,
Oneida,
Lebanon Hanover,
Absolute Body Control,
Tears for Fears,
CMW,
Niagra,
Johnny Osbourne,
Black Moon,
Animal Collective,
The Offenders,
Unwound,
The Happenings,
Adolescents,
Grey Daturas,
DeepChord presents Echospace,
The Fire Engines,
Art Ensemble Of Chicago,
Beasts of Bourbon,
Hasil Adkins,
Vladislav Delay,
John Cale,
The Fortunes,
ABBA,
The Golliwogs,
Joensuu 1685,
Magma,
the Normal,
T.S.O.L.,
Brass Construction,
The Flesh Eaters,
Thompson Twins,
Deutsch Amerikanische Freundschaft,
The Five Americans,
Wighnomy Brothers & Robag Wruhme,
Jawbox,
The Birthday Party,
Piero Umiliani,
Masters at Work,
Bang On A Can,
The Barracudas,
The Trojans,
Bizarre Inc.,
Hardrive,
Sällskapet,
Mission of Burma,
Bobby Byrd,
Kurtis Blow,
Sparks, Sparks, Sparks, Sparks.
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.