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 Jamaica and from Calgary.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school New York 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 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 Don Cherry to the techno 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 Faust. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Delta 5 record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Eli Mardock,
Rapeman,
The Move,
Lou Reed,
Bobbi Humphrey,
Nas,
Blossom Toes,
The Mojo Men,
Crooked Eye,
Lee Hazlewood,
X-Ray Spex,
Moss Icon,
Eric Dolphy,
Major Organ And The Adding Machine,
Ultimate Spinach,
Andrew Ashong & Theo Parrish,
The Velvet Underground,
Wolf Eyes,
The Flesh Eaters,
Hoover,
Monolake,
The United States of America,
Kas Product,
Marcia Griffiths,
Marc Romboy vs. Booka Shade,
The Happenings,
The Men They Couldn't Hang,
Kurtis Blow,
Patti Smith,
Technova,
Slick Rick,
Young Marble Giants,
Charles Mingus,
Outsiders,
Rakim,
Harpers Bizarre,
Blancmange,
Lalann,
The Peanut Butter Conspiracy,
Erasure,
Chrome,
The Moody Blues,
the Association,
Television,
Lyres,
Super Lover Cee & Casanova Rud,
Gary Puckett & The Union Gap,
Gichy Dan,
Roxy Music,
Godley & Creme,
Rhythim Is Rhythim,
Q65,
The Electric Prunes,
Delta 5,
Neil Young & Crazy Horse,
Icehouse,
Excepter,
Swans,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.