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 Indonesia and from Columbus.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Lagos and Paris.
I'm losing my edge to the art-school Delhi 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 marimba 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 Public Image Ltd. to the disco kids.
I played it at the Roxy.
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 Stooges. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Matthew Halsall 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Rhythim Is Rhythim,
Gastr Del Sol,
the Sonics,
Michelle Simonal,
Ultra Naté,
The Monochrome Set,
Gil Scott-Heron and Jamie xx,
Marvin Gaye,
Warsaw,
Monks,
Mad Mike,
Sun Ra Arkestra,
Lou Reed & John Cale,
The Star Department,
Strawberry Alarm Clock,
Nirvana,
Arcadia,
Kaleidoscope,
Bob Dylan,
Wire,
Lou Christie,
Moebius,
Lalann,
the Soft Cell,
The Pop Group,
Junior Murvin,
The Leaves,
Wally Richardson,
D'Angelo,
Whodini,
Arthur Verocai,
Mary Jane Girls,
Radiopuhelimet,
The Knickerbockers,
The Remains,
Lakeside,
L. Decosne,
Jerry Gold Smith,
Country Teasers,
Easy Going,
DJ Style,
Thompson Twins,
Model 500,
The Slits,
Andrew Hill,
The Evens,
Marc Almond,
Moby Grape,
Icehouse,
Jawbox,
Average White Band,
The Electric Prunes,
Aswad,
The United States of America,
Lalo Schifrin,
Glambeats Corp.,
Robert Görl,
Notorious BIG live in Amsterdam,
Tears for Fears,
Stockholm Monsters,
Kerri Chandler,
The Fire Engines,
Bill Near, Bill Near, Bill Near, Bill Near.
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.