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 Costa Rica and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Nils Olav to the jazz kids.
I played it at the Crocodile.
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 Warsaw. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Gang Starr,
Drexciya,
Pete Rock & C.L. Smooth,
Jesper Dahlbäck,
Magazine,
The Pop Group,
Pere Ubu,
Unrelated Segments,
The Peanut Butter Conspiracy,
John Holt,
Freddie Wadling,
Minor Threat,
These Immortal Souls,
Altered Images,
Rahsaan Roland Kirk,
Goldenarms,
Kas Product,
Negative Approach,
Mandrill,
the Swans,
The Tremeloes,
Charles Mingus,
Letta Mbulu,
Con Funk Shun,
The Modern Lovers,
Alison Limerick,
Peter Gordon & Love of Life Orchestra,
The Busters,
The Young Rascals,
Surgeon,
Art Ensemble Of Chicago,
Lebanon Hanover,
Visionaries,LMNO, T- Love & Iriscience,
Gang Gang Dance,
A Certain Ratio,
Ken Boothe,
The Shadows of Knight,
Bronski Beat,
The Mighty Diamonds,
Be Bop Deluxe,
Kool G Rap & DJ Polo,
Unwound,
Alice Coltrane,
Gil Scott-Heron & Brian Jackson,
The Cosmic Jokers,
Flipper,
Basic Channel,
Warsaw,
Youth Brigade,
Pulsallama,
Ponytail,
Neil Young,
Monolake,
The J.B.'s,
China Crisis,
Traffic Nightmare,
The Sonics,
The Sound,
Man Eating Sloth,
Gang of Four,
Zapp,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.