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 Iran and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Tokyo.
I'm losing my edge to the art-school Delhi 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 Michael McDonald 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 Sandy B to the grunge kids.
I played it at CBGB's.
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 Major Organ And The Adding Machine. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Electric Prunes,
The Walker Brothers,
Urselle,
Moby Grape,
Boogie Down Productions,
Oppenheimer Analysis,
Thinking Fellers Union Local 282,
Joe Smooth,
Pussy Galore,
T.S.O.L.,
Minutemen,
The Zeros,
Chris & Cosey,
Average White Band,
The Dirtbombs,
La Düsseldorf,
Gil Scott Heron,
Funky Four + One,
The Moleskins,
The Velvet Underground,
Max Romeo,
Barclay James Harvest,
Röyhkä ja Rättö ja Lehtisalo,
Sight & Sound,
Pantaleimon,
The Names,
Gang Starr,
Lalo Schifrin,
Skriet,
Soul Sonic Force,
Animal Collective,
Joey Negro,
Kool G Rap & DJ Polo,
Monolake,
Stetsasonic,
Mary Jane Girls,
Moebius,
X-102,
Lou Reed & John Cale,
Marc Romboy vs. Booka Shade,
The Count Five,
Sex Pistols,
The Dave Clark Five,
Sound Behaviour,
Severed Heads,
Nation of Ulysses,
Essential Logic,
The Martian,
Eden Ahbez,
X-101,
Warren Ellis,
Jeff Lynne,
Warsaw,
The Black Dice,
Index,
The Pretty Things,
Das Ding,
The Residents,
Mark Hollis,
Kas Product,
Bobbi Humphrey,
Dark Day,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.