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 Tunisia and from Manila.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Milan 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the güiro 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 Unwound to the crunk 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 Ludus. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Kerrie Biddell,
Make Up,
Selector Dub Narcotic,
Dave Gahan,
Banda Bassotti,
The Music Machine,
Sad Lovers and Giants,
The Gories,
Agitation Free,
Yellowson,
Fear,
Thinking Fellers Union Local 282,
Soul II Soul,
The Mojo Men,
The Move,
Bill Wells,
Eric Copeland,
Scratch Acid,
Bobbi Humphrey,
Moebius,
Sun Ra,
Peter & Gordon,
Public Image Ltd.,
Kaleidoscope,
Wighnomy Brothers & Robag Wruhme,
Monks,
Grauzone,
Hasil Adkins,
Rekid,
Barry Ungar,
Sight & Sound,
Ohio Players,
Negative Approach,
Be Bop Deluxe,
The Invisible,
Interpol,
Stockholm Monsters,
Ten City,
Procol Harum,
Dawn Penn,
The Buckinghams,
Gil Scott-Heron & Brian Jackson,
Black Bananas,
Roy Ayers Ubiquity,
Danielle Patucci,
The Stooges,
The Golliwogs,
Lebanon Hanover,
The Walker Brothers,
Hashim,
Tom Boy,
Parry Music,
Brand Nubian,
Notorious BIG live in Amsterdam,
Scott Walker + Sunn O))),
Faraquet,
Liaisons Dangereuses,
The Seeds,
Sly & The Family Stone,
The Toasters, The Toasters, The Toasters, The Toasters.
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.