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 Ethiopia and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Lou Christie to the grunge 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 Blancmange. All the underground hits.
All The Names tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Gil Scott-Heron & Brian Jackson,
Goldenarms,
The Golliwogs,
Silicon Teens,
Steve Hackett,
Bobby Sherman,
Lower 48,
Cluster,
Gil Scott Heron,
Blancmange,
James White and The Blacks,
Khruangbin,
Jandek,
Magazine,
Nick Fraelich,
Hoover,
ABBA,
Laurel Aitken,
Ossler,
Fluxion,
Don Cherry,
The Shadows of Knight,
Lightning Bolt,
Danielle Patucci,
Camberwell Now,
Sound Behaviour,
Scientists,
Talk Talk,
Brick,
Bauhaus,
Carl Craig,
Half Japanese,
Au Pairs,
The Modern Lovers,
Zapp,
The Busters,
Kevin Saunderson,
Bluetip,
Monolake,
Donald Byrd,
AZ,
Livin' Joy,
48th St. Collective,
Sun City Girls,
8 Eyed Spy,
Nirvana,
Gary Puckett & The Union Gap,
Roy Ayers,
Mo-Dettes,
Echo & the Bunnymen,
The Leaves,
Connie Case,
Warsaw,
Big Daddy Kane,
Gang of Four,
Sun Ra,
The Fortunes,
Japan,
Max Romeo,
Jesper Dahlbäck,
Selector Dub Narcotic,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.