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 Papua New Guinea and from Salvador.
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 1962 to 1974.
I'm losing my edge.
To all the kids in London and Cairo.
I'm losing my edge to the art-school Manila 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord 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 Mad Mike to the funk 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 New Order. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jandek record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
The Kinks,
Major Organ And The Adding Machine,
Rites of Spring,
Deepchord,
X-102,
Robert Görl,
Bluetip,
Dr. Dre and Snoop Doggy Dog,
Kool G Rap & DJ Polo,
Lungfish,
the Normal,
Whodini,
Icehouse,
Model 500,
Lakeside,
Crash Course in Science,
Pulsallama,
Outsiders,
Harry Pussy,
Urselle,
Kerrie Biddell,
Ohio Players,
Symarip,
Lightning Bolt,
Ornette Coleman,
Sonic Youth,
Essential Logic,
The Cure,
Agent Orange,
The Walker Brothers,
Reagan Youth,
Soft Machine,
Super Lover Cee & Casanova Rud,
Lou Christie,
The Divine Comedy,
Loose Ends,
Procol Harum,
Hardrive,
Graham Central Station,
The Beau Brummels,
AZ,
Jerry Gold Smith,
Funky Four + One,
Scott Walker,
Aural Exciters,
Sarah Menescal,
Jeru the Damaja,
Sandy B,
Absolute Body Control,
Robert Wyatt,
Andrew Hill,
Ultra Naté,
Gil Scott-Heron & Brian Jackson,
Kurtis Blow,
Barrington Levy,
Sad Lovers and Giants,
Roxette,
Prince Buster,
Negative Approach,
The Saints,
The Dirtbombs,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.