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 Rwanda and from Mexico City.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
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 rhodes sounds with much patience.
I was there when Lou Reed 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 The Five Americans to the disco kids.
I played it at the Spitz.
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 Carl Craig. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal grime 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 a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
China Crisis,
Unwound,
Chris & Cosey,
The Raincoats,
Jimmy McGriff,
Moss Icon,
B.T. Express,
Strawberry Alarm Clock,
A Certain Ratio,
Lindisfarne,
The Cramps,
U.S. Maple,
Bootsy's Rubber Band,
The Velvet Underground,
Kurtis Blow,
James Chance & The Contortions,
Delon & Dalcan,
Boogie Down Productions,
Eli Mardock,
Vladislav Delay,
Brothers Johnson,
Marc Almond,
Rufus Thomas,
MC5,
The Doobie Brothers,
Joe Smooth,
Little Man,
Wighnomy Brothers & Robag Wruhme,
Second Layer,
Laurel Aitken,
Nico,
Infiniti,
The Dead C,
The J.B.'s,
Half Japanese,
Icehouse,
Eddi Front,
R.M.O.,
Janne Schatter,
Lakeside,
Bush Tetras,
Roxette,
Main Source,
Oneida,
The Modern Lovers,
Scan 7,
Dawn Penn,
Gregory Isaacs,
Adolescents,
The Residents,
Public Image Ltd.,
Stockholm Monsters,
The Happenings,
Nils Olav,
Kayak,
Liliput,
Dave Gahan,
The Real Kids,
Lucky Dragons,
Joy Division,
Mantronix, Mantronix, Mantronix, Mantronix.
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.