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 Cambodia and from Portland.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school Spokane 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 Juan Atkins to the rock 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 Animal Collective. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Mantronix,
In Retrospect,
Panda Bear,
Rhythm & Sound,
X-101,
Q65,
Tubeway Army,
Jawbox,
Marc Romboy vs. Booka Shade,
Arthur Verocai,
Boredoms,
Jerry Gold Smith,
Al Stewart,
Robert Wyatt,
Con Funk Shun,
Carl Craig,
Skriet,
The Gories,
Peter and Kerry,
Deadbeat,
Flamin' Groovies,
The Barracudas,
The Blues Magoos,
Yellowson,
Ajijia Myrayebe,
Blossom Toes,
The Blackbyrds,
Banda Bassotti,
Scrapy,
Mars,
L. Decosne,
De La Soul & Jungle Brothers,
Monks,
MDC,
Moebius,
Jeff Mills,
Au Pairs,
The Litter,
The Chocolate Watch Band,
The Busters,
La Düsseldorf,
The Electric Prunes,
Faraquet,
James White and The Blacks,
Second Layer,
Harry Pussy,
Bluetip,
Crime,
Brass Construction,
Alison Limerick,
Khruangbin,
Kenny Larkin,
Porter Ricks,
A Certain Ratio,
Fluxion,
Black Pus,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.