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 Kiribati and from Mexico City.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Lagos 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 spring reverb 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 Kenny Larkin to the techno 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 Tim Buckley. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Sexual Harrassment 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Severed Heads,
Jeru the Damaja,
Swell Maps,
X-101,
The West Coast Pop Art Experimental Band,
Technova,
Fatback Band,
Sound Behaviour,
Lalo Schifrin,
Brothers Johnson,
New York Dolls,
the Bar-Kays,
CMW,
Neu!,
UT,
The New Christs,
Das Ding,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marc Almond,
Todd Terry,
Avey Tare,
Rapeman,
Stereo Dub,
Nils Olav,
the Sonics,
Can,
Kool G Rap & DJ Polo,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wolf Eyes,
Andrew Ashong & Theo Parrish,
Kool Moe Dee,
Be Bop Deluxe,
Excepter,
Eric Dolphy,
Anakelly,
Wire,
Procol Harum,
Circle Jerks,
The Leaves,
The Cramps,
Marmalade,
Bauhaus,
Guru Guru,
Model 500,
Visionaries,LMNO, T- Love & Iriscience,
X-102,
Fear,
The Alarm Clocks,
Darondo,
The Doors,
Khruangbin,
Sly & The Family Stone,
Banda Bassotti,
The Moody Blues,
The Gun Club,
Lungfish,
The Move,
The Buckinghams,
Q and Not U,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.