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 Ecuador and from Taipei.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Manila and Seoul.
I'm losing my edge to the art-school Mumbai 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 oboe 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 Ajijia Myrayebe to the jazz kids.
I played it at Cafe Wha.
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 Slick Rick. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Hoover 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
The Dirtbombs,
The Mojo Men,
Avey Tare,
The Mighty Diamonds,
Jawbox,
Althea and Donna,
The Fire Engines,
Louis and Bebe Barron,
Arcadia,
Aural Exciters,
The Gladiators,
Sight & Sound,
Thompson Twins,
Monolake,
Ronan,
The Tremeloes,
Blake Baxter,
Robert Wyatt,
The Associates,
Arab on Radar,
Tubeway Army,
Minutemen,
JFA,
Sandy B,
Drexciya,
The New Christs,
Lakeside,
The Velvet Underground,
Sad Lovers and Giants,
Minnie Riperton,
Traffic Nightmare,
Negative Approach,
Half Japanese,
Reagan Youth,
Davy DMX,
Visage,
K-Klass,
John Coltrane,
Groovy Waters,
Red Lorry Yellow Lorry,
U.S. Maple,
Yusef Lateef,
Kango’s Stein Massive,
Girls At Our Best!,
The Grass Roots,
Rapeman,
Stockholm Monsters,
Eyeless In Gaza,
DNA,
Public Image Ltd.,
Sam Rivers,
Parry Music,
Alice Coltrane,
Black Flag,
Unrelated Segments,
Amon Düül II,
Lonnie Liston Smith,
Donald Byrd,
Robert Görl,
Skaos, Skaos, Skaos, Skaos.
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.