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 France and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1978.
I'm losing my edge.
To all the kids in Lille and Houston.
I'm losing my edge to the art-school Lille 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the mellotron 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 Marc Almond to the crunk kids.
I played it at the Hacienda.
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 Funky Four + One. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Spandau Ballet,
The Martian,
The Dead C,
Interpol,
Laurel Aitken,
Warren Ellis,
Wire,
Liaisons Dangereuses,
Thompson Twins,
Procol Harum,
Gil Scott-Heron & Brian Jackson,
The Count Five,
Maleditus Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Agitation Free,
Kas Product,
Eric Copeland,
48th St. Collective,
Roxette,
Crispian St. Peters,
Michelle Simonal,
Nick Fraelich,
Man Eating Sloth,
MDC,
The Dave Clark Five,
Stiv Bators,
The Divine Comedy,
Half Japanese,
Q65,
Bronski Beat,
Avey Tare's Slasher Flicks,
Sugar Minott,
Oneida,
Deutsch Amerikanische Freundschaft,
Jacob Miller,
Dawn Penn,
Sad Lovers and Giants,
Cabaret Voltaire,
Eddi Front,
Kevin Saunderson,
Ultra Naté,
The Fortunes,
Lyres,
the Sonics,
Lou Reed & Metallica,
DJ Sneak,
Camberwell Now,
Jandek,
Danielle Patucci,
The Blackbyrds,
Monolake,
Jeru the Damaja,
Orchestral Manoeuvres in the Dark,
Donald Byrd,
Chrome,
Bang on a Can All-Stars,
The Smoke,
R.M.O.,
Black Moon,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.