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 Mexico and from Johannesburg.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Toronto and Lille.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro 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 The Vogues to the disco kids.
I played it at the 40 Watt.
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 Essential Logic. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Interpol 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Black Flag,
Black Moon,
Jerry's Kids,
Jacques Brel,
Matthew Halsall,
Technova,
Ultra Naté,
Roxy Music,
Franke,
Sly & The Family Stone,
Zapp,
Kurtis Blow,
Stereo Dub,
Josef K,
The Fuzztones,
Radiopuhelimet,
Dave Gahan,
Anthony Braxton,
Rakim,
Make Up,
Delon & Dalcan,
Fad Gadget,
Peter Gordon & Love of Life Orchestra,
Justin Hinds & The Dominoes,
Angels of Light & Akron/Family,
Country Teasers,
The Move,
Loose Ends,
Malaria!,
June of 44,
Maurizio,
Blake Baxter,
Black Pus,
The Golliwogs,
Sticky Fingaz feat. Raekwon,
Masters at Work,
In Retrospect,
Young Marble Giants,
Toni Rubio,
the Association,
Agent Orange,
Nick Cave & The Bad Seeds,
Roger Hodgson,
Marine Girls,
Gary Puckett & The Union Gap,
Pharaoh Sanders and the Fire Engines,
Boredoms,
Con Funk Shun,
The Star Department,
Ohio Players,
Avey Tare & Kría Brekkan,
This Heat,
Unrelated Segments,
Ralphi Rosario,
The Index,
The West Coast Pop Art Experimental Band,
Panda Bear,
Kings Of Tomorrow,
the Sonics,
Supertramp,
London Community Gospel Choir,
Derrick May, Derrick May, Derrick May, Derrick May.
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.