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 Armenia and from Lyon.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school New York 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 snare 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 Bizarre Inc. to the rock 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 Moebius. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Faust,
Vladislav Delay,
Swell Maps,
K-Klass,
Young Marble Giants,
Henry Cow,
Judy Mowatt,
Hasil Adkins,
Kaleidoscope,
Janne Schatter,
De La Soul & Jungle Brothers,
Avey Tare,
New Order,
Mark Hollis,
Sarah Menescal,
Bootsy Collins,
The Motions,
Josef K,
Outsiders,
Morten Harket,
Interpol,
Pete Rock & C.L. Smooth,
The Slits,
Monks,
the Germs,
The Birthday Party,
James Chance & The Contortions,
Bill Wells,
Youth Brigade,
Gil Scott-Heron and Jamie xx,
Blake Baxter,
Archie Shepp,
Rod Modell,
The Names,
The Buckinghams,
DJ Style,
Rahsaan Roland Kirk,
Marmalade,
Sexual Harrassment,
Rekid,
Eve St. Jones,
Cybotron,
MDC,
The Toasters,
48th St. Collective,
The Cowsills,
Saccharine Trust,
Brass Construction,
Strawberry Alarm Clock,
Monolake,
the Association,
Grandmaster Flash,
Juan Atkins,
Royal Trux,
Derrick May,
Das Ding,
Cameo,
The Men They Couldn't Hang,
Stockholm Monsters,
X-101,
The Golliwogs,
Neu!, Neu!, Neu!, Neu!.
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.