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 Swaziland and from Edmonton.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Spokane and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 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 Amazonics to the grime 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 David Axelrod. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
The Red Krayola,
Skriet,
Sight & Sound,
The American Breed,
Lizzy Mercier Descloux,
The Selecter,
Sam Rivers,
Gong,
Lou Christie,
The Dead C,
Television,
Anthony Braxton,
Ralphi Rosario,
Kerri Chandler,
Model 500,
The Invisible,
Slick Rick,
Johnny Osbourne,
Strawberry Alarm Clock,
Half Japanese,
The Blackbyrds,
Black Flag,
T.S.O.L.,
The Cowsills,
Crispian St. Peters,
Pharaoh Sanders and the Fire Engines,
Arcadia,
Funkadelic,
Symarip,
Fear,
Terror Squad Feat. Camron,
Harpers Bizarre,
Slave,
Scott Walker + Sunn O))),
Gastr Del Sol,
Grandmaster Flash,
Marc Romboy vs. Booka Shade,
Letta Mbulu,
Kurtis Blow,
Kango’s Stein Massive,
Lightning Bolt,
Japan,
Terrestrial Tones,
ABBA,
Grey Daturas,
Magazine,
The Monks,
Agitation Free,
Zapp,
Newcleus,
The Kinks,
The Durutti Column,
Amon Düül,
Davy DMX,
Dave Gahan,
Pylon,
Oneida,
The Cure,
Deutsch Amerikanische Freundschaft,
Yellowson,
John Coltrane,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.